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Theelitesocialite.
An As Seen On Screen case study of online producerconsumer interaction on social media platforms.
Romy Verstraeten
324802
Payal Arora – PA01
MA Media, Culture and Society
Academic year: 2011-2012
An As Seen On Screen case study – R.R. Verstraeten 324802
MA Media, Culture and Society 2012
2
Abstract
As social media shies away from a buzz word and is moving towards a strategic tool, more
and more practitioners are trying to integrate social media into business models (Eyrich et
al., 2008. pp-412). It is not the question „if‟ there is a relationship between social media use
and business model benefits, because there is (Kaplan & Haelein, 2010). This research aims
to gain a better understanding of what signifies as best practice for businesses with regards
to social media usage and strives to provide a critical reflection of this practice on the
potential of social media for businesses. The question central to this MA Thesis is about how
this relationship comes together and more specifically, what the mechanism of how this
process works. To gain a more in-depth insight, the online retailing business ASOS is chosen
for
case
study
analysis
to
answer
the
research
question:
„What is successful social media usage for business?‟
ASOS is the first European online fashion-retailer that launched an in-Facebook store
(Mashable, 2011) and has been awarded with two Interactive Media in Retail Group awards
as best international e-commerce retailer and best use of social media (IMRG, 2011). ASOS
also received a Webby honors nomination in the category fashion (Webby, 2011).
KEYWORDS: social media, businesses, business models, marketing, best practice, online
retailing.
3
Table of Contents
page:
Abstract................................................................................................................................ 3
Table of Contents................................................................................................................ 4
Table of Figures................................................................................................................... 6
Acknowledgements............................................................................................................. 7
Introduction.......................................................................................................................... 8
1. The Internet environment: a retailing experience........................................................ 11
1.1 A general history of the transition to online retailing................................ 11
1.3 The Internet environment for customers.................................................. 12
2. Social media as a business tool.................................................................................... 17
2.1 The potential of social media................................................................... 17
2.2 Brief overview of „new‟ SNSs................................................................... 19
2.3 Effectiveness of the practice of social media by businesses................... 20
2.4 Connectivity of platforms......................................................................... 22
3. A virtual community........................................................................................................ 25
3.1 A virtual community of practice................................................................ 25
3.2 Virtual identity........................................................................................... 27
4. Research design.............................................................................................................. 30
4.1 Rationale................................................................................................... 30
4.2 Research model........................................................................................ 31
4.3 Case-study focus...................................................................................... 32
5. Method.............................................................................................................................. 35
5.1 Introduction............................................................................................... 35
5.2 Methodology............................................................................................. 35
5.3 Dialogue and interaction........................................................................... 37
5.4 Sensitizing concepts................................................................................. 38
6. Findings and analysis..................................................................................................... 41
6.1 Space analysis.......................................................................................... 41
6.2 Analysis of interaction............................................................................... 54
6.3 Interconnectedness of platforms............................................................... 60
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7. Results............................................................................................................................. 63
7.1 Actors and activity.................................................................................... 63
7.2 Nature of communication.......................................................................... 65
7.3 Platform characteristics and interconnectedness..................................... 68
8. Conclusion....................................................................................................................... 71
8.1 Comparing sensitized concepts................................................................ 71
8.2 Discussion................................................................................................ 73
8.3 Conclusion................................................................................................ 74
References............................................................................................................................ 79
Appendices........................................................................................................................... 83
5
Table of Figures
page
Table 1 - Power sources for the online consumer (Kucuk & Krishnamurthy, 2007).
16
Table 2 - Classification of Social Media by social presence/media richness and self-
24
representation/self-disclosure (Kaplan & Haenlein, 2010).
Table 3 - Ideal types of organic and virtual communities (Van Dijk, 1998).
27
Table 4 - Syntactic model of interaction (Sohn, 2011).
38
Table 5 – Overview of Labels and definitions
54
Table 6 - Overview of combined sensitized concepts 1 & 2.
72
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Acknowledgements
I want to dedicate this thesis to my grandfather Arie Verstraeten. He came to The
Netherlands in 1964 together with my grandmother and their 11 children, in the hopes for all
his children to have a brighter future; enjoying the education and the prosperity this country
has to offer.
I am proud to say that I am the first one in his legacy to have made his dream come true and
finish my MA degree at Erasmus University Rotterdam this year.
I first want to thank my supervisor Dr. Payal Arora, for her never ending support and trust in
my capabilities. Without her, I would have gave up a million times during the thesis process.
I am so grateful for having her as my supervisor, there are no words to express how much
her emails meant to me - 'Thank you Dr. P'.
The past few months have not been easy on me, but when life gave me lemons, I had my
friends and family to make me lemonade. Therefore I want to thank Hsio Ling Hee, my APA
genius, Deborah Kritikou, my saving grace, Aman Gatpansingh, for his endless you'll-befine's, Lisanne Vermeulen and Deborah de Lange, my best friends and rocks in times of
need and Kelly Koppelaar, who made it all seem like a piece of Sardinian lemon pie when I
did not know what I was doing.
Lastly, but not least, I want to thank my parents for all the opportunities and wealth
throughout life they have provided me with and especially my mom for her words which kept
me going every night:
'I will still love you and be proud of you, no matter if you will graduate or not. Just don't worry.'
7
Introduction
As 'social media' as a concept shies away from a hyped word among marketers and is
moving towards a strategic business tool, more and more practitioners are trying to integrate
social media into business models (Eyrich et al., 2008. pp-412). It is no longer the question
„if‟ there is a relationship between social media use and business model benefits, because
there is (Kaplan & Haelein, 2010). This research aims to gain a better understanding of what
signifies as best practice for businesses with regards to social media usage and strives to
provide a critical reflection of this practice on the potential of social media for businesses.
Ever since Pizzahut designed the first online retailing website in 1994 (InstantShift,
2010), businesses started to encounter for change to come in their marketing strategies. The
online environment of the Internet provided new opportunities for business and customers. It
took less than 10 years after the first launched retailing website for online shopping to
become the number one substitute for traditional offline shopping. Thereby the options for
teleshopping and catalogue shopping were left behind (Ward, 2001. pp-12). This success
came along a bit unexpected, however logic can be found by examining the culture of the
renewed online space. A trend towards customization and optimal use of audience targeting
can be identified by looking at the services by business and convenience to consumers the
Internet has to offer (pp-16). In this newly formed environment, the reach of businesses has
extended across national borders, thereby connecting to customers and other suppliers in
the market globally. These changes in the retailing market did not only change the retailing
business as a whole, moreover, this new space had its consequences for the customers
present in this space as well.
However, the increase and extension of the reach of businesses resulted in the
opportunities for business and marketing to be much cheered for. Especially when the
Internet started to find its way to the homes of the masses, the convergence of this medium
and social life started to grow. Co-creativity, participation and openness (Lister et al., 2009.
pp-204) were the new features in the Internet environment which opened up to be explored.
With this change, Web 2.0 moved beyond the limited one way stream opportunities of Web
1.0 and started to focus itself and put on emphasis on the input by the customers rather than
the businesses (pp-205). This convergence lead customers to become 'prosumers' in a
space in which convergence of content is central. The focus is not solely placed on
production or consumption, moreover, it becomes an intertwined process and thereby the
relationship between customers and producers is changed (Ritzer & Jurgenson, 2010. pp-16)
(Chapter 1).
8
The content generated by users started to shift the power balance in traditional market
allocation. The adaptation to this new situation did not always go as fluently as would be
beneficial to businesses (Lister et al., 2009. pp-202). Many online businesses were caught
off guard by the lack of control over peer reviews on their goods and services as these
reviews traditionally were done by assigned experts or through (unpublished) complaint
registrations. The power over negative connotations to one owns business thereby became
much less. But how did we get to this point?
The before mentioned interactivity signifying Web 2.0 did not establish itself instantly.
It took time before user generated content such as Social Networking Sites )hereafter SNSs)
would be prevalent and powerful enough to force a new balance in the traditional power
allocation. The choice in SNSs has increased over time and the intensity in interaction varies
over the variety of websites. Some of the level of interactivity can be explained through the
features of the format of the SNS, for instance YouTube has a 100 million views and 65.000
uploads a day (Focus, 2012), the interactivity of users to users or business to users is
however rather limited. Research also showed, that even though subscribed to SNSs, it does
not necessarily mean that these users will engage actively and that this interactivity is
enhanced differently throughout social media platforms (Correa et al. 2010). All in all, it took
time for the promising interactivity to be intense and evident enough to be noted as
beneficial for businesses.
Social media showed great potential to be the new element in marketing strategies
and business models. The lack of control over the direction and evaluation of content by the
customers must be seen as a learning process on how to shape these discussions in such a
way that is consistent with the identity and vision of the business (Mangold & Faulds, 2009).
SNSs can be used for business in a sense that they can provide beneficial information in the
dialogue taking place in these public spaces, which could easily be gained through the
transparency of the platforms. (Kaplan & Haenlein, 2010). Yet this practice can be both a
blessing and a curse as the control over information and brand identities has shifted from
businesses to consumers (Thoring, 2011) (Chapter 2).
The effectiveness of the efforts of businesses in using social media as a business tool
can however not be fully understood without acknowledging the social context in which this
practice should be fostered. The SNSs can be looked upon as individual virtual communities,
encompassing for its users and the productivity of the dialogue fostered in them.
9
SNSs offer the freedom to its users to connect with loose affiliation to communities within
their platforms, therefore the sense of community needs to be strong in order to keep
customers tied to the online community leveraged by businesses (Jankowski, 2006). This is
a process which needs to be acknowledged by businesses in order to facilitate the correct
interplay in communication that will foster valuable information with regards to marketing
(Chapter 3).
The question central to this MA Thesis is about how the relationship between social
media platforms as a business tool and social media platforms as a social space comes
together. More specifically, this study aims to identify how social media platforms need to be
used in order to gain the benefits these platforms are ought to leverage and what the
characteristics of this practice are. Thereby a distinction in power will be made in both the
examined platforms as well as the actors engaging in this space. This will be done through
an extensive content analysis of the posts, comments and dialogue that took place within the
social media platforms during the month April 2012 with a case-study focus on festival
related posted topics. To gain an in-depth insight, the online-only retailing business As Seen
On Screen is chosen for case study analysis to answer the research question: „What is
successful social media usage for business?‟.
As Seen On Screen is the first European online retailer that launched an in-Facebook store
(Mashable, 2011) and has been awarded with two IMRG awards as best international ecommerce retailer and best use of social media (IMRG, 2011). ASOS also received a Webby
honors nomination in the category fashion (Webby, 2011).
10
1. The Internet environment: a retailing experience.
“The industrial revolution was to manufacturers what the digital revolution is to customers.”
(Sohn, 2011, p. 47)
The merchandise in products on the Internet was a change that did not happen overnight.
This chapter will provide an insight in how this change came about and what the
consequences were on behalf of the customers.
1.1 A general history of the transition to online retailing
Ever since Pizzahut designed the first online retailing website in 1994 (iShift Staff, 2010),
businesses started to prepare their marketing models for change. The online environment of
the World Wide Web opened up doors for business, customers and peers. Less than a
decade after the first launched retail site, online shopping had become the number one
substitute for traditional shopping, leaving teleshopping and catalogue shopping far behind
(Ward, 2001). Even though this success was somewhat unexpected, logic can be found by
examining the culture of the digital space. Looking at what the Internet has to offer in terms
of services by businesses and convenience to consumers, a trend towards customization
and optimal use of audience targeting can be identified. The reach of businesses extends
beyond national borders, connecting consumers, producers, goods and services globally. It
is therefore not surprising that the opportunities which came along with online retail
businesses were much cheered. However, in scholarship, a more nuanced perspective was
maintained during such positive predictions. Going back some 20 years ago, „success‟ held
off after the first major developments in online retailing, such as online payment innovation
(iShift Staff, 2010; Doherty, Ellis-Chadwick & Hart, 1999). Skepticism emerged due to
variation in effectiveness of the new developed online tools for business that included
mailing-lists, web-shops and the digitization of multiple administrative proceedings. The mere
online appearance and availability of information provided by businesses lacked intensive
activity, meaning that both consumers and businesses did not interact in such a way that it
leveraged benefits for both businesses and customers in the new defined space. It seemed
that when not used properly, the presupposed online advantages would not be gained and
websites became so-called „dead spaces‟. Also, the „medium‟s potential rather than its actual
performance, accessibility and content‟ had been central to discussion up until then (Doherty
et al., 1999). The bursting of the dot-com bubble in the fall of 2001 contributed to the
conclusion of many that the Internet was overhyped (O‟Reilly & Batelle, 2005). A lot of
Internet businesses never seized to make up their initial investments and ended up as dotbombs (Hawkins, 2004).
11
Part of this loss can be assigned to businesses focusing on the success of Amazon, trying to
get big as fast as possible without regarding the actual steps which need to be taken in order
to be successful (Farmer & Sandoval, 2001).
By 2012 online retail businesses have proven to be persistent in the retailing market
and has increased in number and size. In fact, they hold a fair share of the total retailing
business; the Centre for Retail Research (2011) reported a 12% share in total retailing for the
UK, 8.8% share in total retailing in Europe (including UK) and 9% for the US (taking the
difference in market size into account, the percentages can be considered somewhat
similar). Also, further growth is forecasted, however slightly less rapid as previous years due
to the economic slowdown. However not only numbers of market share in online retailing
changed; a shift towards an online market brought change to traditional business strategies
as well. Initially, the bursting of the dot com bubble seemed to be the confirmation of the
skepticism surrounding the viability of online retailing. Yet e-commerce has come through
this „crash in a much better condition that often is supposed‟ (Hawkins, 2004. pp-65).
Focusing on business models, the Internet filled itself with models derived from (at that time)
temporary literatures of business, management, economics and their like. Business models
as a concept can best be understood as the process of linking new technological
environments to business strategies. Moreover, the logic of business models can also be
linked to perceptions of value, especially to how new customer value can be created in trade
in an electronic market. These models became numerous and ranged from being analytical
to quasi instructional – how to avoid lemons in online business. Thus as the new millennium
dawned, the dot com companies no longer looked like the commercial revolution they ought
to be and more like a bubble ready to burst. The bursting of the dot com bubble eventually
filtered all the business models which were out there; it gave an insight into what business
approaches did survive the bursting of the bubble and through which frameworks failure
could be explained. In this sense, the new business models have built upon the defaults from
the dot com burst and improved the framework for successful online retailing in Web 2.0
(Hawkins, 2004). All in all, after the dot-com breakdown the online retailing industry seems to
have distinguished what approach served as best practice and progressed into successful
businesses.
1.2 The Internet environment for customers
Entering the era of Web 2.0, multiple shifts have taken place for businesses as well as
customers. It is therefore important to understand what the Internet has become like as a
market environment to customers and businesses and this section will focus on the Internet
environment on behalf of the customer.
12
The most fundamental changes in the new Internet environment is not only technological
innovation but also the embodiment of a conceptual step towards the vitality of interactivity
(O‟Reilly & Batelle, 2005). When the Internet joined the living rooms of a mass public, the
convergence with social life became inevitable. Co-creativity, participation and openness
(Lister, Dovey, Giddings, Grant & Kelly, 2009) are key in the new interactive space of the
Internet. Web 2.0 moved beyond the one way stream of Web 1.0 and focused more on the
input by all of its users rather than solely the direction given by business organizations. To
understand the experience that people have in an online and mediated environment, it is
essential to examine interactivity and theorize its role within the communication that takes
place (Sohn, 2011).
Not all interactivity that the Internet allows for is perceived and used by the
consumers, the same way that not all businesses optimize the benefits of online interactivity.
The concept of interactivity has become a popular term to contrast the old media to new
media, the new media being interactive and the old media passive. This dichotomy however
puts the concept in an almost indefinable position of what non-interactive or is; does it refer
to zero interactivity or extremely low interactivity. In other words, without classifying degrees
of perceived interactivity, it becomes almost obsolete to call a platform mere „interactive‟.
Only by defining a distinction between how interactive spaces are perceived by customers, it
can be illustrated how much and thereby what types of interactivity a platform can foster
(Sohn, 2011). Following the recent study of Sohn (2011), interactivity can best be understood
in three conceptual, underlying dimensions; sensory, semantic and behavioral. By using this
conceptualization of the term, interactivity shies away from its technological determination as
a description of capability of a particular medium; the mistaken perception that „the more
bells and whistles there are on the site, the greater its interactivity‟ (Sundar, 2007, p. 90, as
quoted in Sohn, 2011, p. 1322). The sensory dimension of interactivity is the information a
person perceives from an object, may it be physical or visual, such as photographs or videos.
The more „vivid‟ the object seems to an individual, the more likely it is that this individual
perceives this object to be interactive (and thereby interacts or engages oneself). The
semantic dimension concerns information which is not only sensory and vivid, but which is
also personally relevant. Relevance is not only measured when personally directed
(„Welcome Jane!‟), it is found in the mutual recognition of actors. In other words, when being
acknowledged in a space, a mutual recognition can take place and the information is more
likely to be perceived as interactive; resulting in interaction. The final dimension of
interactivity is the behavioral dimension, referring to the urge of an individual to change
behaviorally due to the vivid, sensory information which is perceived and the mutual
recognition within the space (Sohn, 2011).
13
These dimensions of interactivity can be looked upon as different levels of interactivity as
perceived by the consumer in the Internet environment. Taking these levels into account, a
more in-depth insight can be gained when examining online interaction between customers
and businesses. The higher the level of perceived interactivity, the higher the chances that
customers will interact and engage. For businesses, it therefore becomes key that their
shared information and content is appealing enough to trigger interaction. In this way, the
benefits that online interaction can potentially bring about are enhanced (see Chapter 3).
Apart from perceived interactivity, there are other factors that can lead to customer
participation and engagement. According to the study performed by Chu and Kim (2011),
consumers tend to recommend and discuss products on social networking sites more likely
under certain determinants. The presence of both businesses and customers on a social
media platform has the potential to establish a strong relationship between the two through a
closer communication process. It is therefore important that businesses recognize these
determinants and optimize them in order to enhance strength in communication.
Given the collaborative and social characteristics of the space of SNSs, these
platforms can be seen as an emerging venue for consumer-to-consumer conversations and
word-of-mouth branding for businesses. The determinants which have been confirmed in the
results of Chu and Kim (2011) are trust and interpersonal influences . Trust refers to the
willingness in relying on an exchange partner in whom an individual has confidence. This
determinant is essential as it influences if and to what extent virtual community members will
exchange information with other members. Interpersonal influence is the second determinant
for interaction and product recommendation and can best be understood as the social factor
in customer decision-making. Interpersonal influence can be divided into two dimensions;
normative influences and informational influences. Normative influences are related to the
tendency to respond to the expectations of the others members of the virtual community that
can affect attitude, norms and values. Informational influences include the tendency to
accept information of the knowledgeable other and to be guided by a leading actor within a
virtual space. Altogether, when customers feel confident in the capabilities of the other
members or look up to them, they are more likely to interact in social media platforms. The
online space cannot be controlled by businesses; however they can try to shape it in a way
that fosters the determinants for consumer interaction and product recommendation.
Consumers become „prosumers‟ in a digital environment to which convergence of
content is central (Ritzer & Jurgenson, 2010. pp-13). The emphasis is not on consumption or
production separately; moreover, it has become an intertwined process and thereby changed
the producer and consumer relationship (Ritzer & Jurgenson, 2010).
14
User generated content on e.g. blogs started as parallel to traditional outlets and remained at
the amateur side of the market. However, this parallel position soon shifted into an invading
one; media outlets started to feel the pressure of their peers in terms of control, but also as a
threat of replacement in some business fields such as journalism. For long, media outlets
have been able to set the agenda but in Web 2.0 they no longer can avoid the voice of the
consumers which were simultaneously present in the same environment. This shift in power
balance also caused friction in marketing strategies as not all the information that is send out
by businesses is accepted by the customers. Therefore, traditional business models did not
fit perfectly in this new situation and the adaptation process did not go smoothly (Lister et al.,
2009). Many online businesses were caught off guard by the lack of control over peer
reviews on their goods and services. Reviews used to be done by assigned experts or
through (unpublished) complaint registrations. The control over negative connotations to one
owns business was therefore much more powerful than it is now. The rise in uncertainty for
businesses in an online environment meant an increase in control for consumers.
What is witnessed today is a renegotiation of the relationships between companies
and customers, a shift in marketing with an advantage for the customer. Traditional markets
were dominated by the supply power of the manufacturers whereas the new online
environment allows for a dominance of consumer power (Kucuk & Krishnamurthy, 2007).
But what caused this shift to a dominance by the customer? With the rise of the Internet,
consumer rights (and thus consumerism) improved to a great extent: consumers can access
more accurate, up-to-date information about products, companies and regulations from a
growing variety of sources. However consumer rights have never been as threatened as it is
today with the constant infringement of privacy through mass data mining. It therefore must
be noted that this ability for the consumers is not explored by definition, the ability to be
dominant in the market does not mean that this ability will be made use of. Mavens in the
online environment continue to thrive and can serve as examples of how shifts in market
models can be cause by the customer. Yet a much larger chunk of customers can get lost in
the huge information flow and lack the understanding of how to enhance the potential of its
position. Therefore the promising outlook for consumer power must be somewhat moderated
with unexercised power; an equation of potential power and actual explored power.
The study of Kucuk and Krisnamurthy (2007) illustrates the changes which were
brought about through different dimensions of power for consumers in an online
environment. The key benefits which customers can experience by online interaction are
convenience in consumption, value, connectivity and protection against infringement of their
rights due to businesses.
15
The technological change led consumers to a more equal and in some cases, superior
position towards businesses operating in the same environment. Most important is the ability
to keep a close track of what happens with their orders and the opportunity to demand
immediate feedback and solving. Economically customers are empowered to influence the
value of goods as they can easily compare prices online and take advantage of the
transparency of the Web. A third benefit is found in social power; by participating and
engaging in online communities, consumers can create social pressure on performances and
promises of a business. Consumers can communicate with each other to create solutions
and push the business to move in a certain direction. Finally, customers are also empowered
to assert their rights whenever felt to be harmed by business decision making.
Table 1. Power sources for the online consumer (Kucuk & Krishnamurthy, 2007).
As the Internet is transparent, businesses cannot ignore, harm or do their customers
wrong without this being witnessed by numerous other customers within the same
environment. In this sense the empowerment of the consumer will immediately backfire on
the businesses which do not acknowledge the power on behalf of their customers (Kucuk &
Krishnamurthy, 2007).
16
2. Social media as a business tool.
“If you‟re a brand marketer looking at this as a creative way of just getting that one-time
transaction done, you‟re not recognizing the power of social media and how consumers are
playing in the marketing space.” (Chris Perry, Webershandwick President, n.d.)
The previous chapter discussed the changes that the Internet brought about with regards to
online retailing and as an environment to the customers. This chapter will provide an
understanding of what social media can leverage for businesses and how this could be a
beneficial practice to be integrated in the online marketing model.
2.1 The potential of social media
Social media platforms are not as new as they often are typified in the field of media studies
and since they have been around and the ways in use have developed and changed by both
customers and businesses over time (Lister et al. 2009). In temporary media studies, a field
of social media and its potential has widely been explored and it is important to outline the
key characteristics. As Shirky (2009) puts it, Social Networking Sites (hereafter SNSs) have
become YASNS: “Yet Another Social Networking Service”. Many SNSs are aiming at the
success in member subscriptions of websites such as MySpace and more recently,
Facebook. With 12% of the world population registered with Facebook profiles, it is safe to
say it is the largest and most influential social medium (Facebook Newsroom, 2012). No
wonder that many marketers as well as scholars cheer for the integration of social media into
business modelling and strategy. First coined in scholarship in 2009, social media ought to
be the “new hybrid element of the promotion mix” (Mangold & Faulds, 2009, p. 256). The lack
of control over consumer to consumer interaction must be seen as a learning process on
how to shape these discussions in a manner that can be found consistent with the business
vision (Mangold & Faulds, 2009, p. 357).
Social media can be used as a marketing tool in a sense that the discussion by
consumers to consumers in business related spaces provide the ideal information source for
marketers (Kaplan & Haenlein, 2010). The collaborative and social characteristics of the
space of SNSs provide for an ideal platform in which consumer-to-consumer conversations
and word-of-mouth marketing for businesses can be enhanced (Chu & Kim, 2011). SNSs
essentially are a combination of the traditional features in marketing (companies to
customers) and the new opportunities in the type of communication they bring about. To
consumers, social media are perceived as the most reliant source of information regarding
products and services. Consumers therefore tend to turn away from mass media sources
and require on-demand and immediate access to information at their own convenience
(Mangold & Faulds, 2009).
17
These trends can serve as an insight to marketers in adjusting their business models to the
popularity of this medium. The control over content, timing and frequency over information
seems to be eroding: all the information over goods and services that is out there does not
have to start at the PR office of a business- it may well originate in the marketplace itself.
The amplified power of consumer-to-consumer conversations cannot be entirely
controlled by business organizations. However, they can be shaped in such a manner that is
beneficial to businesses and their marketers. In doing so, businesses can co-create a
valuable source of information and feedback on their performances, hence receive key notes
on what to improve according to their customers and increase productivity. According to the
study of Mangold and Faulds (2009), consumers like to network and interact with people
whom have interests and desires that are similar to their own. Businesses can leverage this
demand by providing online communities for like-minded individuals, thereby creating a
social media platform in which valuable information is exchanged. The ability to submit and
exchange one owns experience with a certain good contributes to a feeling of being
acknowledged by the organization; it increases the sense of open and honest communication
and thereby customer engagement is enhanced. People like to feel special; it may be
through personally directed messages or special offerings, when something is exclusively
available to a subset of customers it instantly becomes more interesting to participate. A
good example of this is the „fan-only‟ access on the Facebook wall of online retailer Pixie
Market (2012). Without liking the page (a subscription to the business Facebook wall), users
cannot access this part of the Facebook wall. The customers that like the page can enter this
part of the space and find a special discount code which can be used in the web-shop of
Pixie Market. Apart from that, Pixie Market (2012) illustrates this by addressing their
customers personally as Pixienistas, thereby putting an emphasis on exclusiveness in
shopping at their web-shop. Also subjects that raise emotions and opinions are triggers for
consumer interaction. By designing products or discussions related to desired self-image or
attitude, customers feel engaged in the topic and feel to “have their say” (Mangold & Faulds,
p. 363). Lastly, the power of „stories‟ behind products are triggers for customers to remember
the story and see the connotation to certain goods. In an environment of close word-of-mouth
communication and promotion, vivid connections can be visualized by the customers and are
likely to be forwarded in social media platforms. In order to be successful in integrating social
media in marketing models, it must be underlined that businesses should “coordinate all
promotional activities of the firm to produce a unified, customer focused promotional
message” (Boone & Kurtz, 2007, p. 488).
18
This can only be accomplished when businesses adopt and acknowledge the pervasiveness
in this new type of communication environment. Without recognizing the power of social
media and thereby its users, their power will backfire on every effort of empty marketing
made by the business; benefits in customer information is not leveraged and the online
identity of the business is put at stake.
2.2 Brief overview of new SNSs
Moving from Shirky (2009) and the illustration of SNSs becoming YASNS, some prominence
and persistence of some of these social platforms can be distinguished. With 12% of the
world population registered with Facebook profiles, it is safe to say it is the largest social
medium worldwide (Facebook Newsroom, 2012). In its features and layout it is one of the
most simple design. Exactly this simplicity makes room for a lot of functions on the platform.
The opportunities for businesses „fan‟ pages are endless, applications and mobile tools are
becoming more and more popular for users and valuable for businesses. With the
introduction of the first European in-Facebook store (Mashable, 2011), online retailer As
Seen On Screen confirmed the innovative further exploration of this platform. Twitter is often
referred to as micro-blog, as the social medium has a maximum of 140 characters per post.
Noticeable to the design of twitter is that the connection by „following‟ users does not need to
be a two-way stream. It is possible that a user follows an account without being followed
back. In this sense, following on Twitter is more related to shared interest than offline
connectedness (Thoring, 2011). YouTube is a platform on which video-files can be uploaded,
broadcasted and commented on. Their slogan „Broadcast yourself‟ has resulted in 10 hours
of content being uploaded every minute (Kaplan & Haenlein, 2010). Apart from these „old‟
new media platforms, some more recent developments on new platforms can be recognized.
Even though these platforms are relatively new, the enormous use and interaction in these
spaces already cannot be denied. Instagram is a relatively new mobile phone application for
Android control systems on photo-sharing and instant editing. The photo sizes and coloureffects are tools to edit the photo and after the edit, content is shared on the Instagram-feed.
Instagram received the 2012 Webby award for „Best Break-out‟ of the year, the application
was rewarded for its rapid growth and innovative social platform design. Also Pinterest was
rewarded for its rapid growth and unique social connectedness and received the Webby
award for best social medium website (Mashable, 2012). Pinterest is a social medium which
can best be explained as a collection of online pinboards to which users can „pin‟ their online
discoveries. Its design allows the images to interlink with the website on which they were
originally published, but also provides users with the opportunity to upload personal work
(Pinterest, 2012).
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2.3 Effectiveness of the practice of social media by businesses
However, as mentioned before, the practice of integrating social media in marketing models
can be both a blessing and a curse; on one hand SNSs have reached the largest and most
wide-ranging, easy accessible audiences in history and on the other, the control over
information and brand images has shifted from businesses to consumers (Thoring, 2011).
Thinking back to the “e-commerce euphoria in the 1990s” (Hawkins, 2004, p. 65), it seems
like a new wave of buzz and hype regarding the Internet has developed; social media as the
ultimate marketing tool.
Again we can find skepticism surrounding the trend; are social media spaces as
beneficial as their potential seems to be or are these „dead sites‟ without any form of
interactivity. As been discussed in Chapter 1, many businesses were unprepared for the
change in how the consumer was able to review their goods and services. Therefore even
active, major global companies sometimes still lack skills in practice to use social media
properly (O‟Neill, 2012).
Looking at how individual social media platforms have been used in practice by
businesses can indicate how much of the potential in this practice is being obtained in terms
of effectiveness. For instance when Toyota faced a drop in sales, they circulated several
YouTube videos to popularize a minivan model. Within a few weeks, the videos were viewed
an estimated 12.000 to 15.000 times and approximately 2000 Facebook fans subscribed
(Elliot, 2010). Another example can be taken from the Red Robin restaurant chain that listed
Facebook users as „brand ambassadors‟. Some 1500 users agreed to post
recommendations, something that leveraged approximately 225.000 positive experience
impressions (York, 2009). Off course, these are single marketing focuses and these cases
do not portray a longitudinal analysis of social media use by businesses. However, what we
can take from here is that there definitely is a highly beneficial tool for marketing practice
found in social media platforms. The study performed by Eyrich, Padman and Sweetser
(2008) focused on social media in relation to PR practitioners, looking at how these platforms
are being adopted in this area of businesses. Different from other studies, this study sought
to fill the void of academic research focusing on one particular social medium. However, this
study also included intranet, text messaging and mail along with social media, which does
not quite fit the definition of social media in terms of new media typology. As Kaplan and
Haenlein (2010) define social media, it is a “group of Internet-based applications that build on
the ideological and technological foundations of Web 2.0, and that allow the creation and
exchange of User Generated Content” (p. 61). Therefore the findings by Eyrich et al. (2008)
still lean towards the „older‟ new types of media.
20
Yet what their results showed was that a lot of practitioners use the tools regularly (6 out of
the 18 defined social media), but that they perceived social media to be used more frequently
than the results of the research portrayed. This is an interesting finding as it may confirm the
buzz and hype around social media being integrated in marketing approaches. Thus the
study did not cover how successful the types of the social media which were used were
when related to business practice. The social media which were used most often in a
business sense were intranet and email, thereafter followed blogging and then the social
media platforms. Leaving aside the emailing and intranet, blogging and social media
platforms were preferred over instant messaging, which indicates that there is an apparent
leveraged benefit for practitioners to send out messages over a multiple-user platform rather
than an individually directed one.
The study of Thoring (2011) on Twitter use in the business of book publishing
revealed more in-depth results on the practice of social media as a business tool. In her
research, Thoring (2011) found that the size of the firm was positively correlated to the use of
Twitter. When the business was medium/sized, the more extensive the use of this social
media is as a business tool. Also, when the firm is medium-sized the more likely it is that this
firm includes at least two types of social media. Explaining this finding, effective social media
use is labor intensive hence smaller firms cannot afford this productivity whereas to mediumsized businesses it is cost efficient to use social media platforms rather than more expensive
marketing tools. This is a finding coherent with the conclusion of Huberman, Romero and
Fang (2008) on the strength of frequency in use that leads to productive social media use.
Indicators for interactivity in the social space of Twitter can be the number of followers
(individuals followed by the publisher) and the number of followers (individuals who follow the
publisher). Thoring (2011) stresses that the number of followers is however a better
indication; publishers either do not follow individuals and focus on the message they want to
send out, or, they follow random people in the hope of gaining followers.
Therefore successful Twitter use is signified by having a lot of followers and being
selective in followers; a practice which is most typical of larger and medium-sized businesses
especially businesses with which individuals want to be affiliated with (following this account
will be visible on their profile). The „popularity‟ of these businesses provides them with a lot of
followers interested in their goods and services, it allows them to choose which individuals
they select to appear on their own Twitter-feed without losing a mass of users. The Twitter
account of Chanel accounts for 612,729 followers and follows 0 Twitter accounts (Chanel,
2012). The mere visibility and opportunity for customers (and more likely, fans) to follow this
account is more important than interaction with these users. This practice often cannot be
explored by small businesses, as they lack the popularity that larger firms have.
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The attempt to gain a lot of followers can result in the before mentioned random following of
accounts, in order to gain more followers to select from. However, either way this approach
would be counter effective, as the account that add the smaller business may be a user the
firm does not want (and therefore should not) to be affiliated with.
Interesting to see, is that the medium sized businesses were the most active in their
frequency of tweets and tweeted actively from morning until the evening, with a drop on
weekend days. This indicates that active and frequent Twitter usage for medium-sized firms
leverages business benefits. This can be an indication that businesses which are „too big‟ do
not make use of Twitter as an active addition to their marketing model in order to connect to
customers, moreover, they use it as a mere extra online visibility. Also, the indicators of retweets and replies (re-citing a tweet or directly answering one) is a factor of interactivity in the
platform of Twitter. These options were used more prominently by mid-sized firms. All in all,
Twitter seems to be most effective for medium-sized businesses, which engage and interact
actively on a high frequency with a selected focus on customers they want to reach. What
can be taken from the research done by Thoring (2011) is that not all types or sizes of
businesses will benefit from the use of Twitter as a marketing tool. Important notes are the
frequency in posts, the timing of the posts (during the whole day and not solely working
hours) and the selectivity in followees. This practice is proven to be most effective in
enhancing interactivity and customer engagement leading to business benefits. All in all, the
active attitude towards social media platforms as tools in business is key in order to reach
and explore the potential of SNSs for marketing in practice.
2.4 Connectivity of platforms
The practice of SNSs by businesses as well as users may be perceived as a new
phenomenon due to the new media typology. However, the activity and participation in these
types of media continues to increase and allows for more and more opportunities in
managing the business' account on multiple social media platforms. The social plug-ins from
Facebook and Twitter allow businesses and individuals to let customers use their Facebook
account asa log-in method onto their own site, saving customers the effort for signing up with
a separate account (Facebook Developers, 2012). Also the channels of Facebook and
Twitter are often interconnected; the posts can simultaneously be shared over a range of
SNSs and can vary over sources (from a mobile phone or from web), saving businesses a
part of effort in maintenance of spaces (Thoring, 2011). Some of the most successful
promotional campaigns combined the advantages of separate social media platforms in such
a way that the interconnectedness leveraged great business benefits.
22
A good example is the promotion of Old Spice, a fragrance line which was becoming
somewhat outdated. The 'The Man Your Man Could Smell Like” debuted online shortly
before the 2010 Super Bowl and quickly became a sensation. Fans were asked to engage in
a more intimate, democratic conversation through a new response campaign. This campaign
resulted in 186 personalized YouTube videos to Old Spice fans who commented on Twitter,
Facebook, Reddit, Digg, 4chan and more social media platforms. The campaign became one
of the fastest-growing and most popular interactive campaigns in history. The campaign was
nominated and won in the Webby awards category Best Use Social Media 2011 (Webby,
2011a). The success it leveraged, can best be taken from the companies own website:
“On Day 2, Old Spice had 8 out of the top 11 videos on YouTube. After just one week the campaign
had been viewed more than 40 million times and after 30 days that total has eclipsed 52 million views.
Has the work has an impact on the bottom line? Yes. Since the campaign has launched, sales of
premium body wash have doubled, helping to cement Old Spice as the number one brand of body
wash for men.” (No Harp Stuff, 2012).
As can be illustrated with the Old Spice example, the combination of multiple social
media platforms can be key to the effectiveness in benefits that this practice will leverage to
business. Yet without recognition that these tools can be even more powerful when
combined, even the correct practice of each individual medium may not provide the results
that businesses had accounted for. Over-promotion and too persuasive marketing on SNSs
can even be counter-productive for businesses; when it does not trigger engagement by the
customer itself, chances are that the practice will not result in business benefits, but rather in
having a empty space without interaction. All in all, it is about balancing and presenting
content over a variety of platforms. in order to keep customers interested, engaged and most
importantly, connected to the business through SNSs (Taylor et al., 2011).
In order to do so, it is important to understand what the power of a certain SNS is. A
lot of academics tend to over generalize over all types of new media. Facebook is not the
same as Youtube, the same way that a newspaper is different from a glossy magazine.
Following the research of Kaplan and Haenlein (2010) the two key components of social
media rely on two academic fields, “media research (social presence, media richness) and
social processes (self-presentation, self-disclosure)” (p. 61). Social presence refers to the
intimacy and the immediacy of types of media, intimate being personal or mediated and
immediacy being asynchronous or synchronous. Social presence is high in interpersonal
messages (face-to-face) and lower when mediated through e.g. telephone. It is also higher
for synchronous communication such as live chats than it is for asynchronous
communication such as email. The higher the social presence in communication, the higher
the social influence is on the behavior of the other.
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Related to this idea is the concept of media richness, basically referring to the assumption
that media possess different degrees of richness in the amount of information they allow to
be transmitted in a given time interval. In this sense, some media can be more effective than
others in resolving ambiguity and uncertainty. With this approach, Kaplan and Haenlein
(2011) designed a classification of SNSs according to these two academic concepts.
Table 2. Classification of Social Media by social presence/media richness and selfrepresentation/self-disclosure (Kaplan & Haenlein, 2010).
By understanding the power and the reach of specific SNSs, businesses can „blend‟
different kinds of social media platforms into their marketing mix. Especially when using
multiple platforms and cross-sharing between SNSs, effectiveness of the combinations can
be anticipated beforehand.
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3. A virtual community
“Social Media is about sociology and psychology more than technology.”
(Brain Solis, Principal of FutureWorks., n.d.)
From the previous chapters, it can be taken what the Internet market space is like for both
customers and businesses and what kind of practice goes around. This chapter will examine
how social media platforms can serve as a business community to its users and will illustrate
how users become members in a virtual environment.
3.1 A virtual community of practice
The concept of communities of practice traditionally refers to groups of people informally
bound together by shared expertise or passion for a joint enterprise. This can be a
profession, a hobby or specific interest and the communities can be constructed in multiple
ways. Some communities meet every week, other schedule meetings monthly or annually
and some may not even schedule at all. People in communities of practice share their
experiences and knowledge in a free-flowing, creative way, allowing for the freedom to solve
and approach problems differently and form multiple perspectives (Wenger & Snyder, 2000).
Looking at communities of practice in the online environment of the Internet, these
communities can drive strategies, generate new lines of businesses, solve problems and
promote the spread of best practice. The organic, informal and spontaneous nature of
communities of practice challenge marketers in managing such communities to leverage
business benefits. Taking SNSs as communities of practice, the successful managing of
these sites includes bringing the right people together, provide an infrastructure in which
communities are able to thrive and measure the value of these communities in a nontraditional way. As been discussed in Chapter 2, every social media platform has its own
features and therefore every community which is formed on these platforms might very well
need a different cultivation of the space in order to be practiced successfully. This process of
constant adaptation to the customers and members within each specific online community
takes a lot of time and care. However, even though this cultivation practice is not an easy
task, “the harvest they yield makes them worth the effort” (Wenger & Snyder, 2000, p. 142).
The main difference between the traditional offline communities and the virtual
communities examined in the academic field of media today, is the emphasis which is no
longer placed on geographical connections but rather on the feeling or sense of collectivity
(Jankowski, 2006). Yet it is important to differentiate between social groups and
communities; the latter being used almost as a synonym for online groups, especially when
the term is advantageous for a business providing this site.
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This blur in definition seemingly implies that any online discussion group will serve as a
community for the people participating in it. However, the key distinction that needs to be
made is that without interactivity in an online social group, individuals do not tend to become
involved and, more importantly, stay involved with the group (Baym, 2006). Baym (2006)
outlines the structure of an online community by distinguishing three characteristics; they are
normatively regulated, hierarchical and often very supportive.
Online communities develop their own ways of speaking; informally norms, values
and believes are being regulated by the online group, rather than being determined by the
medium. The second dimension covers the informal structuring of hierarchy within online
social groups. The emerging community is usually led by a few key actors, random actors
and non-active actors (often a larger chunk of the community space). The composition of
actors influences how the hierarchy in prominence is formed within the group, as well as how
persuasive these actors are; are they simply more visible or are they taking leadership in e.g.
discussion? With the rise of the Internet, a simultaneous overwhelming rise of „new‟
communities was perceived by businesses as well as users. According to Jankowski (2006)
this perception however, was primarily due to a visible contrast between virtual communities
and organic, offline communities. Indeed the Internet brought about a new environment from
which many kinds of virtual communities originated. Yet the persistence in existence and
level of engagement by online actors differentiated among these various virtual communities.
The mere contrast to traditional communities cannot serve as a full understanding of
the concept of virtual communities as the definition would not comprehend all these different
types which are online. The „new‟ form of virtual communities would rather be a comparison
than a contrast to traditional organic communities; they are still social spaces in which
individuals meet face to face, thus „under new definitions of „meet‟ and „face‟…„ (p. 62). In
other words, compared to traditional communities, virtual communities still comprehend for
the features of meeting face to face, thus meeting online is different from offline and the
same goes for face (online personality in this sense).This puts forward the most exceptional
feature of a virtual community; individuals can become prominent quickly and just as quickly
disappear all together. This fluidity of association with the community by individuals is the
biggest challenge for businesses who want to leverage build a community around their
products; customers are much more loosely affiliated with community and thus the bond and
feeling of collectivity must be strong in order to maintain the community group-members
(Fernback, 1997, as mentioned by Jankowski, 2006). Early media studies have pursued to
design a typology to encompass the characteristics of the emerging virtual community.
Taking the study of Van Dijk (1998, as cited in Jankowski, 2006), the defined characteristics
have remained prevalent in virtual communities such as SNSs that are known today.
26
SNSs offer the freedom to its users to connect with loose affiliation to communities within
their platforms and do not tie the users to place or time. Also the type of interaction and
language can still be signified with mediated language (as mentioned in Chapter 2) and can
foster plural cultures within a space (Table 3).
Table 3. Ideal types of organic and virtual communities (Van Dijk, 1998).
Exactly by providing the opportunity for loose affiliation, businesses shape a
community for strong connections; individuals who have a strong sense of identification with
an online group will become prominent and leverage the information which can be most
valuable. This identification process of individuals with the community links to the online
identity formation of online users. The perceived distance to the self by users in the medium
of the Internet allows them to be more heterogeneous in the online identity, they become
„divorced from body, from time and from space‟ (Baym, 2006. pp-41). This particular
characteristic of a virtual community influences how businesses need to anticipate a different
type of customer online as the customers they meet offline, even though these may be one
and the same individual, they differ in offline and online behavior. To understand a virtual
community, it is therefore important to designate how individuals construct their online
identity within these online societies.
3.2 Virtual identity
As the Internet is a highly transparent medium, creating a virtual identity therefore becomes
an inevitable process. Therefore it is important to understand how the virtual identity is
created online and what fosters its connection to virtual communities. The online
environment from which virtual communities originate, influences the formation of identity of
individuals operating in these spaces. Computer mediated identities can be different from the
identity people embrace offline, however, this does not always need to be the case. The
Internet provides for a rich flow of information in which identities can be cultivated more
extensively compared to offline. Therefore, even though the Internet can leverage a sense of
anonymity in which individuals are given the opportunity to portray a completely different
identity, this medium can also help them foster more dimensions to their identity through
virtual interaction in communities. A lot of scholars have tried to identify how this process of
identity formation develops online.
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For example the „cues-filtered-out‟ perspective coined by Culnan and Marcus (1987, as cited
by Baym, 2006) focuses itself on the social cues which are missing in online interaction. Due
to having less social boundaries, individuals have the opportunity to develop an identity
which is different from their offline personality. The freedom of anonymity which can be
experienced online, serves as a kind of „magic‟; you can be who you want to be, whenever
you feel like it.
The reduced cues allow for identity play, the online portrayal of identity can be constructed
as how one wants to be perceived, instead of how one is perceived. By separating the self
from body, time and space, the online environment opens up a realm in which the multiplicity
of identities can be fostered. People can be multiple persons, without any identity being more
valid over the other. Yet for a larger part, study suggests that this opportunity with regards to
identity most of the time is not being seized (Baym, 2006). Cases in which users are likely to
do so are depending on specific circumstances, events or contexts. For instance virtual
worlds such as Second Life or with a gaming aspect like World of Warcraft, are types of
media in which users choose a virtual character (avatar) to interact with on the platform. This
increases the likelihood that the identity is created before entering this virtual world and this
process is much affiliated with the concepts of self-presentation and self/disclosure by
Kaplan and Haelein (2010) as discussed in the previous chapter.
Social identity is not only constructed through environment. The formation of an
organization or social group an individual is member of, partly influences the way social
identity is being shaped. Taking the study of Child and Rodriques (2005), their results
showed that identities that people internalize as members of a social group can impact the
organizational learning process, which in turn influences the organizations identity. In other
words, the identity of a business is partly determined by its (main) users. Therefore, if a
business wants to shape its identity, it must identify the main characters from its community
in the social spaces it provides. Organizational learning in this sense, is understood as to
add, subtract, converse or create knowledge in order to attain organizational goals. For
businesses it is important to leverage a community space in which the „right‟ customers can
identify themselves and together pursuit a goal which is consistent with the business‟ vision.
A goal in this sense can be a state of minds or status with what individuals as well as
the business want to be affiliated with. A retailing business with a vision to stand for e.g.
vintage, outrageous and hipster, strives to attract individuals whom identity themselves with
these characteristics. These individuals will then contribute to the identity of an organization
with their own social identities and strengthen the character of a business.
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Social identity can be looked upon as a versatile concept, „the sense of belonging to a group
is reinforced when it possesses characteristics with a person‟s own individual identity‟ (Child
& Rodrigues, 2005, p. 536). It is key to businesses to bring the right social identities together
in order to strengthen its own identity and the way it is perceived online.
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4. Research design
This chapter will first outline the rationale of this study and built an understanding of where
the research aim comes into place with regards to the current research field. Also, the model
of research questions will be highlighted and further explained through a detailed description
of the case study focus.
4.1 Rationale
The best practice of social media as a promotion method for businesses has barely been
researched before. The potential rather than the actual effectiveness is often analyzed and
the conducted analyses neglects to include how customers make sense of the information
which can be found on the social platforms nor how the interaction is structured specifically.
Secondly, even when the effectiveness is researched, scholars have focused on one
particular medium on which businesses are active. However, the current formats of social
media allow for multi-sharing across platforms; what is posted on Facebook will
simultaneously be posted to a Twitter account and vice versa. This connectedness provides
in-depth insights to identify what serves as best practice for businesses in their social media
usage. It also shapes the way social media are integrated in business models and how the
same information of one campaign is shared throughout multiple social media platforms.
Questions that often get neglected in this scarce field of research evolve around the lack of
more in-depth insight into business practice, such as the focus of interaction (affiliated with
promotion or problem solving narrative) and the exact process of shared information (what is
done with the input by customers).
As Seen On Screen (hereafter ASOS) has been chosen for its online design, there is
no ´offline´ store for its customers to go and therefore communication other than online is
limited. ASOS.com is the UK's largest online-only fashion and beauty store which aims it
sales primarily at 16–34 aged men and women. ASOS.com is a global online fashion and
beauty retailer and offers over 50,000 branded and own label product lines across
womenswear, menswear, footwear, accessories, jewellery and beauty products. ASOS has
websites targeting the Europe, USA and Australia and ships to over 190 other countries from
its central distribution centre in the UK. ASOS has over 13.6 million unique visitors a month
and as of 30 September 2011 had 6.3 million registered users and 3.7 million active
customers from 160 countries (ASOS, 2012).
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Noting that the environment in which ASOS originated was virtual to start with, the
company advanced on other retailers which had to adapt their business strategy in order to
compete with the growing online market. Including social media in the business model might
have felt more natural to ASOS than it would have to retailers that have opened web-shops
after offline store locations. However, ASOS still distinguishes itself by the high level of
interactivity with its customers, a practice which the business has been rewarded by multiple
professional peers. ASOS received two IMRG awards as best international e-commerce
retailer and best use of social media (IMRG, 2011) and a Webby honors nomination in the
category fashion (Webby, 2011b). Also, ASOS has been a pioneer in integrating social
media in business with regards to the launch of the in-Facebook store (Indvik, 2011). With
this, ASOS sets an example to other online retailing businesses as to how social media can
best be integrated into business models. ASOS is active on Facebook, Twitter, Instagram,
Pinterest, YouTube and provides a platform for four blogs; Press Play, Spotted, Medium
Rare and Kate‟s Closet. The explorative nature of this research will thereby provide very rich
in-depth information and a deeper understanding into how businesses can beneficially use
social media platforms. A further and more detailed description of the methodology is given
later on in the next chapter.
4.2 Research model
Central to this study, the following research question has been designed:
RQ:
„What is successful social media usage for business?‟
To come to a clear and in-depth insight into this practice, the answer to this research
question will built upon the following sub-questions:
SQ1: „What is the range of used platforms and how do they connect?‟
SQ2: „What is the nature of the interaction between the users and ASOS?‟
SQ3: „What is the culture of ASOS‟ social media spaces?
The first part of the content analysis will deal with an indexation of the social platform
history, ownership and activity. Sub-questions 1 and 2 will contribute to a structural overview
of the spaces in which ASOS operates. Analysis of the actors within these spaces will be
conducted and a deeper understanding of how the sense of community has been built.
Information that will come into question is related to responsibility, (who is responsible for the
updates on the medium?), accessibility, (who can comment on the posts?) and history (what
is the background of the actors on the platforms?).
31
These topics reveal the allocation of power and actions in the platforms and contribute to the
understanding of the environment that fosters best practice. Also, the connections between
the social media platforms individually will be outlined in analysis. The performance of the
platforms is analyzed on interconnectedness, (how do the platforms connect with one
another?), and content (how is the information shared and is it different on every medium?).
Second, a more thorough and grounded discourse analysis will be conducted to
grasp the main themes and underlying meanings in interaction between ASOS and the
customers on the two selected platforms. This constant process of looking back and forth
between the data and the found literature, will deliver a large range of codes to work with.
The sub-questions 3 and 4 are going in-depth of the communication and interaction dialogue
between the actors in order to get a sense of how this „best practice‟ looks like.
4.3 Case-study focus
To grasp best practice by ASOS as a whole, a one-month period has been chosen for
analysis. As ASOS is active on 9 social media platforms (Facebook, Twitter, Youtube,
Pinterest, Instagram and 4 blogs), the time period is equal for all spaces to allow comparison
and account for possible interconnectedness. To keep this study as up to date with recent
developments on social media platforms possible (such as changes in settings or pagetools), the month April 2012 is chosen for analysis. The case focus is placed on the two
festival contests which took place in April. The contests for The Great Escape Festival in
Brighton and the Camden Crawl Festival in London are two of many more to come this
season (Appendices, Case 7). In this summer ASOS special festival season, multiple
contests are held for their customers to win festival tickets and are constructed in various
ways. The posts that are included for analysis are post concerned with the two contests held
in April. These are not only posts on The Great Escape Festival in Brighton and the Camden
Crawl Festival in London, but also posts that connect to these festival contests as topic,
meaning that posts affiliated with the festival focus will also be included for analysis. These
topics may not include the organized contests in their content, however, if the connection to
the festival season is prevalent (outfits, items etc.), these posts are also included.
A preliminary analysis of the case study focus indicated that the blogs Press Play and
Kate‟s Closet are excluded from this study, as they do not integrate the festival contests or
affiliated topics in their blogs posts of April 2012. Also, for the Twitter account analyses, the
tweets that appeared on the Twitter feed of ASOS 10 minutes after a festival focus related
tweet by ASOS have been included in the data.
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As Twitter does not „group‟ tweets together in a bounded post (like comments are in posts on
for example Facebook), to still grasp the interaction that is fostered after a post by ASOS, the
10 minute timeframe has been designed. Even though not post -or tweet- related, customers
can still be triggered by the mere activity by ASOS on their personal timelines; this can be
supported by the finding in the research of Huberman et al. (2008) that individuals are more
likely to engage in an active medium. Therefore, the activity by ASOS can result in consumer
interaction which may not have been intended for (not related to the posted tweet-topic), but
which still is illustrative of the type of interaction which is enhanced by the tweet-activity of
the business.
The interplay of posts over various social media platforms result in
interconnectedness and interactivity in multiple directions and on multiple levels of
individuality (message from one to many or one to one). The interactivity which is allowed in
tweeting activity is different from the interactivity on for instance the photo-sharing platform of
Instagram (Correa, Hinsley & de Zúñiga, 2010). Therefore the format in which the interaction
takes place determines the actual shape of communication between ASOS and its
customers, as well as customers to customers. The actual content analysis will therefore be
two-fold; the first part includes analysis of the social media platforms in terms of identification
per platform and interconnectedness. The second part of the analysis will go in-depth in the
interaction that takes place within these social spaces. In other words, first an overview is
given on how the 9 social media platforms intertwine and are shaped separately and then an
in-depth grounded analysis is conducted to identify the practice of ASOS within these
different spaces.
According to research, the effectiveness of social media communication lies in how
often communication takes place between actors. In other words, to pass a message (either
send out by the customer or the company), communication needs to be strong in frequency
(Huberman et al., 2008). Therefore the interaction patterns (intervals of interaction) will also
be included to conclude in what tempo interaction with customers should and can take place
on social media platforms. Moreover, by going deep into the communication that takes place
on different platforms, a distinction between specific types of interactions can be made.
Interaction between the two main actor groups may differ over platforms, in this sense the
answer to „what serves as best practice‟ gains even more dimensions.
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The overall content analysis will for the larger part deal with dialogues between the
two actor groups of this study. In dealing with language embedded within social context, and
Facebook, Twitter, Youtube, Pinterest, Instagram and the blogs are social spaces, it is not
only about saying the „right‟ thing, moreover it also depends on who you are and what you do
while saying it. ASOS can place oneself in a service supplying position, but without actually
living up to the promises, the opportunity to publically engage with their customers can easily
backfire on the business as the transparency of the Internet will prevail any neglect of
customer rights on their behalf. There will also be a focus on the main actors within the
platforms. Off course, there are two main groups (ASOS and the customers), but question is
if there is a „core‟ set of users within the platform that distinguishes themselves from the
larger whole. This recognition unconsciously takes place among actors, power is not only
allocated by format (who has access or ability to what), but also who is being recognized as
the most legitimate actor (Gee, 2012). Fact is, ASOS has 1.725.595 „likes‟ (and thereby
users) on Facebook, 321.757 followers on Twitter, 4165 followers on Pinterest, 4967
subscriptions on their Youtube channel, 78057 followers on Instagram. It is impossible to
communicate with all these users individually, so how do they send out a message and what
happens with the responses they receive?
All in all dialogue analysis will come into play when analyzing the interaction that
takes place on the platforms and to identify what serves as best practice when it comes to
communication. Ultimately, the best practice in social media use for businesses will be
outlined and contribute to the understanding of the overall positioning of social media within
business models.
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5. Method
This chapter will provide a detailed description of the method and approach which will be
taken in this study. Furthermore, the concepts which will be used during analyses will be
sensitized in the final section of this chapter.
5.1 Introduction
The core of this research revolves around two main actor-groups; ASOS and its customers
and goes in-depth of the interaction between ASOS and its customers as well as customers
with customers. As this study thereby goes deep into the communication on between these
two groups, the interplay of posts and comments will be the main units of analyses. This
public interaction on social media platforms has one major advantage; the dialogue becomes
more transparent and the relationship between business and customers is exposed.
Therefore, a qualitative content analysis will be conducted over the interaction that takes
place in the active social media platforms of ASOS, these being; Facebook, Twitter,
Instagram, Pinterest and the blogs; Spotted and Medium Rare. This type of research
concerns itself with the underlying meaning in dialogue. Starting from the data, several labels
and concepts are derived in order to design theory for answering research questions rather
than pre-defined hypotheses. This method, also known as grounded theory, will aim to
identify and codify the underlying themes in the online media texts through a continual
interplay between the data and analyses (Bryman, 2008).
5.2 Methodology
This study uses an inductive research approach, as the case study focus revolves around a
topic which has not yet been touched upon extensively in the academic field. Previous
research such as the study performed by Thoring (2011) on corporate tweeting and Waters,
Burnett, Lamm and Lucas (2009) as well as Das (2010) on Facebook use are focused on
one particular social media platform and thereby neglect what is key and unique to the
practice of ASOS. Interconnectedness of platforms and even variances in communication
and interactivity due to format and actors within that specific space are important aspects
with regards to the research question.
Exactly these aspects will therefore be emphasized in the analysis that will be
conducted in this research. Following the before mentioned scholars, content analysis of
posts and interactivity by businesses or organizations and their customers were key in
identifying how communication through social media is being shaped and how it (beneficially)
is constructed within business models.
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Das (2010) stresses the fact that member-status, that is liking a page on Facebook, does not
necessarily mean that this user or customer in the case of ASOS will also interact in this
space. Moreover, some of the page subscriptions on Facebook (through the „like‟ which is
displayed on the user profile), might be done as part of virtual identity instead of sincere
connection to the organization or product. For example, the clothing brand Chanel
has 6.661.858 likes on Facebook and coffee brand Starbucks 30.154.885 likes. This
however does not mean that every user liking the brand on Facebook interacts in the
Facebook space or even uses the product. In this sense the option to like something in the
Facebook space, or any other of the social media spaces for that matter, becomes a
contribution to an online identity in a virtual world (Baym, 2006). Therefore another emphasis
is put on the analysis of main actors to see if there is a sense of community and if so, whom
participates and acts most prominently.
The entire research design supports an inductive explorative study about the actors„
interaction in the social media platforms of ASOS. As mentioned before, a content analysis
will be performed over the posts and comments of both the customers and ASOS. The entire
research design draws its inspiration from the grounded theory method founded by Strauss
and Glaser (Bowen, 2006). The grounded theory analysis is most commonly used as method
in qualitative methods, such as observations and interviews (Charmaz, 2007). This method
allows patterns to emerge from the data and then built a more generalizing theory. The
grounded theory is generated by themes derived from data analysis, „capturing the essence
of meaning or experience dawn from varied situations and contexts‟ (Bowen, 2006). Going
through the data that will be collected from the various social media platforms, sensitized
concepts are derived from a critical literature review beforehand. Instead of using definite
abstract concepts, sensitized concepts provide a mere suggested direction along which to
look to the found data. In qualitative research, social researchers tend to look at sensitized
concepts as interpretive devices that allow for a starting point in studies concerned with
social interaction. By using a sensitized concept as a guideline through the data-collection,
the attention is drawn to the most important features of communication in multiple settings.
This study will first define sensitized concepts through which the data-collection will
be viewed, without excluding the vital possibility of new emerging themes. Starting the datacollection, every social media platform by ASOS will be mapped in tables of posts and
comments (see Appendices). These interactions will be labeled and analyzed on patterns,
correlations and content in order to answer the predefined research question and subquestions.
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5.3 Dialogue and interaction
Drawing from the academic field in social online interaction, this study will place a focus on
how the communication and interaction is shaped and by whom, on the identity that signifies
certain participants and on the differences or coherencies in those two when being situated
in multiple online social media platforms of ASOS as communities of practice. Apart from the
nature of interaction which will be analyzed through a labeling process of the comments, an
analysis of the dialogue in these comments will also be performed.
Taken from several computer mediated interaction focused studies, some features of online
interaction can be distinguished. The study by Baym (2006) revealed that the interaction on
social media platforms can sometimes be more „nasty than reasonable‟ (pp-40), yet that it
overall is qualitative and playful. Related to this is the finding by Mangold and Faulds (2009)
that when individuals emotionally feel engaged in a topic, the chances are more likely that
they will engage in discussion to share their vision and opinion. The discussion narrative
therefore also illustrates a sense of connection to a community in which an individual stands
for its own opinion and might be in a position in which it defends oneself (the „nasty‟ way of
communication (Baym, 2006)). Literacy studies revolve around the social practices and
events among actors and take notice of the written texts that mediate these practices (Barton
& Hamilton, 2000). However, given the changed nature of the environment in which the
interaction takes place, there has been a shift in who decides what practice is appropriate.
Traditionally, an external authority validates what type of communication is appropriate within
a certain context (e.g. course teacher). In social media spaces however, the direction and
tone of the communication is for a larger part being shaped by the customers participating in
this interaction (de Pourbaix, 2000). Furthermore, the study of de Pourbaix (2000) revealed
that not only responsibility in communication changed, also content and membership of
community shapes differently in an online environment as there are different cues for identity,
space and time. There is a choice on behalf of the customer to participate in the online space
or community (e.g. liking ASOS on Facebook) and when participating, there is a choice in
content and even the possibility to give guidance to what is talked about in the space. In
other words, much of the social practice that takes place within the online platforms is
dependent on the choices made by the customers and validated by the initiator of the space,
in this case ASOS. An important note to the enlarged power of the customer, is that of the
multiplicity of communities and identities. The way a person interacts on ASOS may be part
of an online identity and even part of multiple identities, as the person most likely is active in
multiple online communities.
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5.4 Sensitizing concepts
As been discussed in the previous Chapter, the content analysis in this study will use guiding
sensitizing concepts taken from literature in fields of research that cover the main topic. A
total of 4 concepts have been sensitized from the three-fold literary framework.
1 – “Interactivity”
Interactivity may be key to Web 2.0, however, it took time before it was intense and evident
enough to be noted as beneficial for businesses.
As has been outlined in Chapter 1, interactivity can be triggered by multiple determinants and
when being fostered, the degrees of interactivity can vary. This study will strive to include a
more in-depth perspective on the concept of „interactivity‟ by distinguishing different levels
(following the work of Sohn, 2011). By taking this approach, interactivity will be analyzed per
social media platform and thereby certain interaction can signify certain platforms of ASOS.
The interactivity in this study will be analyzed on what were the attributes for this level of
interactivity and what characterizes the interactivity on that particular level.
Table 4. Syntactic model of interaction (Sohn, 2011).
2 – “Media richness/ social presence and self representation/ self-disclosure”
Taking the study by Kaplan and Haenlein (2010), the categorization of SNSs by social
presence, media richness, self representation and self-disclosure allows for a narrowed
down perspective on „social media‟ as a concept. In order to gain a richer analysis of the
spaces which are integrated into the business model of ASOS, it is important to differentiate
between strengths and weaknesses in social media spaces. Therefore the model presented
by Kaplan and Haenlein (2010) can serve as a guiding typography of SNSs.
38
The four components of this model (social presence, media richness, selfpresentation and self-disclosure), refer to the degrees to which a SNSs can be experienced
as intimate. It identifies if the communication is personal or indirect and if it is synchronous or
asynchronous. Also, the degrees to which a media is rich in the amount of information they
disseminate varies over different types of SNSs (Table 2). However, given the explorative
nature of this study, to sensitize this model does not mean that it will explicitly be followed
through analysis.
Moreover, what is taken from the model presented by Kaplan and Haenlein (2010) is the
characterization of a social media platform in terms of power for effective business usage, as
this practice is explored by ASOS. The strong and weak features of a certain platform can be
identified through this model and thereby a clear distinction between the „social media‟ used
by ASOS can be made.
3 – “Consumer power”
The biggest promise for consumers with the introduction of the Internet, was the shift in
power in their favour. In terms of access and influence, consumers have moved towards a
more powerful position in the market place (Kucuk & Krishnamurthy, 2007, Table 1). As with
many other hypothetical expectations, the question to how much of this opportunity is used
by the customer rises. This frame will be taken as a guide through analysis, meaning that the
amount of power which is seized by the customer will be identified and categorized per social
media platform. Some platforms may allow for more consumer power than others or different
kinds of consumer power. This concept will thereby be used as a guide though analysis to
recognize customer power and identify how ASOS responds to the allocation thereof. Kucuk
and Krishnamurthy (2007) distinguished multiple dimensions of consumer power, to give a
more accurate overview of what advantages of the Internet can be utilized by consumers.
4 – “Sense of collectivity”
The final sensitized concept concerns itself with the concept of collectivity. This sense of
belonging to a community allows for individuals to interact and remain engaged with the
business providing this space. The more a person is affiliated with the business, the more
likely the chance that this person will continue to participate in the collective space (Child &
Rodriques, 2005). The SNS accounts are all part of the ASOS community as a whole, each
one of them leveraging a different character within that space to contribute to the overall
online ASOS identity. Given the fact that ASOS is an all online business, there is no offline
activity for customers to identify themselves with. The sense of collectivity also overarches
the feeling of belonging to a community.
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A strong virtual community is different from a mere online group and is known for its
normatively regulated, hierarchal and supportive characteristics which all are being
constructed naturally by the members of the community (Baym, 2006).
Taken from the literature in the field of social identity and community collectivity (see
Chapter 3), the sense of collectivity will be the final guiding concept in content analysis. The
focus of this concept will be to recognize how this sense of belonging is brought about (either
by the customers or by ASOS) and aims to typify the kind of customer that affiliates with the
business of ASOS and what kind of customer ASOS wants to be identified with.
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6. Findings and analysis
“A lot of people in our industry haven't had very diverse experiences. So they don't have
enough dots to connect, and they end up with very linear solutions without a broad perspective
on the problem. The broader one's understanding of the human experience, the better design
we will have.” (Steve Jobs, Apple Inc., n.d.)
First, in this chapter each social media platform will be analyzed on characteristics that
signify its space during the case study festival focus. Second, a deeper content analysis of
the comments during the case study festival focus will be presented to gain a richer insight
what the strong and weak aspects of a social media space bring about.
6.1 Space analysis
Facebook
The Facebook space which is leveraged by ASOS has 1.725.595 „likes‟ (and thereby users).
This number might seem like a lot, however, as has been discussed in the literary
framework, not all of these users are actively engaged in the space. Related to the case
study focus, ASOS posted 16 items on their Facebook wall. The platform of Facebook allows
for multiple sharing options. These include; photo-albums, status updates, single photo
update, video sharing and opinion polls.
As the wall of ASOS in the space of Facebook is a business fan-page and not a
personal profile, the wall-posts by users mentioning ASOS or posting a direct message on
their wall are not being displayed in the wall lay-out. This enables ASOS for a full design of
the space and allows the organization to „furnish‟ the items, highlight events and arrange
them in an overview. While this may seem as an advantage to businesses, ASOS
encounters confusion by its customers as they are disoriented in the space with regards to
directly posted questions on the ASOS wall. This results in comments on posts which do not
relate to the initially intended topic. In the Show Us Your ASOS Label post by ASOS
(Appendices, Case 2), MiszJune expresses her inconvenience with the page lay-out; „Why I
can‟t see wall post in April? And also cannot post anything!‟ (Appendices, comment 8).
Angela Powiro answered in the same post that she experienced the same problem as
MiszJune (Appendices, comment 16). ASOS Casey replied to MiszJune with further
instructions and solved the issue. Yet this took 9 out of 14 comments in the specific post and
only 3 comments were related to the posed request by ASOS. In this sense, the way ASOS
divided the Facebook wall has its consequences to the interaction that follows in the posts.
In terms of media richness (Kaplan & Haenlein, 2011), the ASOS Facebook wall
allows for a rich amount of information to be processed in a given time-interval. The 16 posts
are mostly spread over the time-period of analysis, however, the Instagram photo-report on
the 21st of April 2012 of the Coachella Festival was posted within a timeframe of 2 minutes.
41
As illustrated in the cases 9-13, each of these posts still enhanced a fair amount of
comments and likes, even though there was almost no moment of time in between the posts
(Appendices, Case 9-13).
Looking at the actors in the Facebook space, there is a prominent actor with regards
to the comments that have been analyzed. Fashion-meets-arts is a fashion blog with a fanpage on Facebook (account which is used to interact in the ASOS Facebook wall) and has
its own website. Fashion-meets-art does however not explicitly promote its own blog, the
interaction is focused on the topic or item which is posted. The engagement by fashionmeets-art does not always refer to commenting, sometimes the mere liking of comments by
other users serves as a way of visibility (Appendices, Comment 30, 42, 49, 50, 51, 65, 67,
142, 143). Actors similar to the fashion blogger fashion-meets-art are Married with fashion,
GypsyRiot, Old-but-handsome-vintage and Iworethat. All of these actors are also fashion
bloggers with a Facebook account for their blog identity. Also these actors participate in the
interaction on the Facebook platform through the liking of comments by other users. Apart
from commenting on posts, the shared items on Facebook allow for the opportunity to reshare these items on other profile walls of users.
The number of re-shares deviates over the 16 cases, but what comes forward is that
fashion affiliated actors make use of this opportunity. The online retailing stores
OrangeCircle, *GLAMOUR, Hengelo, Amoni Facturing and Tennam HK have shared several
items to their own Facebook wall. In this sense, the richness of the information is extended
across the Facebook platform as a whole.
Of course, there is a much larger variety of actors present in the ASOS Facebook
platform. Individually they vary in the frequency and goal of interaction on Facebook, yet
taken on a whole they push forward a clear and more regular perspective on the direction of
the interaction. Even though the 16 posts are related to the festival focus, a lot of interaction
shies away from the initial topic addressed by ASOS. More than half of all selected cases (9
out of 16) include interaction about orders from ASOS by customers. An example of this kind
interaction can be illustrated by the question of Craig Li in the The Great Escape Festival
photo album (Appendices, Case 8). On the 20th of April 2012, Craig asked ASOS; „Hi … is it
possible to upgrade my shipment from standard to express even if it has been shipped out? I
live in Canada‟ (Appendices, comment 127). Within one hour, ASOS Sarah replied to Craig
with further instructions on how this issue would be processed further (Appendices, comment
129). A similar case occurred when the order of Andreea CB did not arrive. 15 minutes later
ASOS Casey responded to further take care of the issue after a private message
(Appendices, comment 79, 80).
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Most of the interaction is orientated on issues of the like and are solved by ASOS
through private messages. However, in some cases, the processing of an order affiliated
problem did not go smoothly. Taking the example of customer Chiara Rossi, ASOS did not
manage to solve the issue directly. At the start of the month, Chiara posed a question to
ASOS in the Rain-proof and Festival album about a refund which was supposed to be made.
With very specific directions, ASOS Casey explained how her case would be handled
(Appendices, comment 77, 78). One week later, in the The Great Escape Festival photo
album, Chiara again asks for help on the refund of her order. The pressure on ASOS
increases as Chiara publically expresses her inconvenience: „I got tired of waiting and this is
not what seems to me as the great service you are offering‟ (Appendices, comment 123).
However, the response by ASOS Danny does not reflect of any concerns to ASOS; „Hey
Chiara, I have responded to your private message. ASOS Danny‟ (Appendices, comment
125). In terms of consumer power (Kucuk & Krishnamurthy, 2007), a technological
advantage is explored in the platform of Facebook. The ability to track the orders and contact
ASOS through the social media platform increases the customers convenience as well as
power, as the Web makes the issues they run into more transparent together with the
response they receive to their problems. In the case of Chiara, the infringement of customer
rights by ASOS which is publically seen in the Facebook post increases the legal dimension
of consumer power. The expression by Chiara can be taken as a defence of her position as a
customer and forces ASOS to handle the issue. Yet apart from individual cases, collective
consumer power has also come forward in the Facebook platform.
In the comments on the final Instagram picture-report photo (Appendices, Case 13),
the issue experienced with a discount code is raised by Jay Cheng (Appendices, comment
156). In the following 8 hours, eight other customers reported to have the same problem with
the promotional code. ASOS Casey responded to each case separately; “Hi 柏明儀, I'm sorry
you're also experiencing issues. Please can you send us the email you received the code in
to [email protected] with Facebook as your subject and include order details and the issues
you're experiencing and we'll look in to this for you…‟ (Appendices, comment 156-160). This
illustrates a social dimension of consumer power; by making use of the social ties within the
platform of Facebook, the customers as a collective are able to pressure the organization on
solving the issue.
Looking at Facebook as an ASOS community in which customers using this medium
interact and affiliate with the ASOS retailing business, a few efforts of ASOS as well as the
customers in creating the sense of collectivity are prevailing.
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As the connecting of accounts through liking a page on Facebook results in a simultaneous
link, anyone on Facebook has access to the fan-page community. Yet with over 1,5 million
people liking ASOS on Facebook, it seems unlikely that all of these users are actively part of
the community. As been mentioned in Chapter 3, apart from the dominant actors in a
community, a large part of the online community can be latently tied to the group. As
mentioned by Baym (2006) virtual communities are recognizable for their normatively
regulated, hierarchal and supportive character. As been outlined previously, there are a few
actors that regularly (in this analysis that is at least every two weeks) join the interaction in
the space of ASOS on Facebook. These actors can be considered as most prominent as
their membership becomes more visible due to their active engagement. In this sense, a
natural hierarchy is constructed naturally in the ASOS community among members and the
higher level of willingness in their engagement. These are also actors whom most strongly
affiliate themselves with ASOS and thereby become part of ASOS online identity (Child &
Rodriques, 2005). In the Facebook space of ASOS, the most prominent actors are individual
fashion bloggers and it thereby seems that online fashion reporting is a mutual venture,
which can be added to the character of both ASOS and its customers. The affiliation with
fashion is a shared passion by both sides, ASOS as well as the prominent actors tend to
engage themselves in.
The sense of community can also be brought about by a supportive attitude among
the members within the space. This can be illustrated by the way customers solve problems
together and thereby built a mutual understanding within the space leveraged by ASOS. In
the second Coachella-album picture, five users commented positively on the dress which
was worn on the picture. The dress was much cheered for (Appendices, comment 42-45, 47)
and consequently Naama Freedman answered that it was from the Dolce and Gabbana
Spring collection (Appendices, comment 46). Yet more specific examples can be found, in
the same album in the third picture the top worn in the picture is mentioned by several users
(Appendices, comment 49, 52-54). Peiling Zheng does not only replies to these comments
with where the top is from (Juicy Couture in this case), she also provides the others with a
direct link to the ASOS shop where you can buy the item (Appendices, comment 55). The
same occurred in the fourth Rain-proof and Festival ready photo album picture where
Stephie Grapes asked the other users; „Luv these shoes, help me to find them!‟ (Appendices,
comment 105). Taylor Bufkin replied; „Stephie, they look like DV‟s.‟ (Appendices, comment
106) and also provided Stephie with the link to the ASOS shop. What is noted here is that the
reply by Taylor is liked by Stephie, which illustrates a way of thanking for the response to her
question.
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On the behalf of ASOS, the supportive character concerning the orders of its users
has previously been mentioned. This can also be seen as contributing to the sense of
collectivity within a virtual community. Yet also apart from order affiliated questions, ASOS
interacts with the users about other issues. Questions about items concerning the post such
as participation in the contests for festival tickets are answered within hours by ASOS
(Appendices, comment 18, 20, 24, 25). Also requests for information by customers are
handled by ASOS, such as questions about new brands (Appendices, comment 163, 164).
However, it must be noted that not all questions posed by users are answered by ASOS. In
some cases, for the mere reason that it is a negatively put connotation in question, as when
Dominica Lovell noted in the Emma Roberts picture post; „I‟m pretty sure that not Emma
Roberts. Are you guys just taking pictures of randoms?‟ (Appendices, comment 162). Thus in
other cases, answering the questions posed by customers could even be beneficial for
ASOS to answer. This was the case of the second picture of the Rain-proof and Festival
Ready photo-album, where Cloe Hayes and Louisa Thomas Sleight specifically asked for the
price and the link to the item in the online ASOS store (Appendices, comment 98, 99). In the
same photo-album, but in the next picture, Cas Frazer asked if the item was still in stock
(Appendices, comment 103). In these posts however, the information about the products was
provided by ASOS beforehand in the captions of the photo‟s and included the links to the
online shop. Yet cases in which the customer is left without any information also occurred.
During the Instagram report of the Coachella festival, both Chess Teugels and Ginny Wilson
asked about the products that were worn in the picture (Appendices, comment 151, 152).
Neither of them were answered by ASOS, however, they both received 9 likes on their
comments, which can be explained as a support by other users when they asked for this
information. The same occurred when the winners of the Camden Crawl Contest were
announced (Case 7). Winners and their friends commented on their luck first and shortly
after wondered what happened next with the tickets. Even though ASOS was active in the
post and the comments, it did not respond to their question. The winners separately
discussed the matter; Mary Burt Rouillon asked: „What happens now then?‟, to which Poppy
Scarlett Lepora answered: „Yesss, how do we get our tickets?‟ (Appendices, comment 119,
120). In this sense, even though ASOS does not always enhance the supportive
characteristic of a community, in order to create a feeling of collectiveness, this again can
lead to reciprocal support among customers. It seems that ASOS primarily focuses its
problem solving comments on questions affiliated with orders by customers. The other typed
of questions it has been confronted with may be obsolete to answer (information can be
found by the customer itself) or to agitating (the question has a negative connotation to it,
see previously mentioned comment by Dominica Lovell).
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However, ASOS did answer to Chiara and her dissatisfaction about the behaviour of ASOS,
therefore it seems to be the case that ASOS simply focuses on order affiliated issues rather
than other customer confusion.
A different approach by ASOS to enhance the sense of collectivity is the way it
presents itself in the space of Facebook. In terms of collectivity, ASOS addresses its
customers in a playful and open way (Appendices, Case 1-16). The format of Facebook does
not allow for a selection in connection to customer accounts; when someone likes ASOS on
Facebook, the connection to the ASOS fan-page is mutual in appearance (ASOS on the user
wall and the user in the ASOS wall). Everybody can like the page and with over 1,5 million
connected users, it is impossible to keep track of every single individual. Different from other
platforms, the task for ASOS to design an online identity and prominently affiliate itself with
the right individuals it wants to be affiliated with, heavily draws on the attracting of these
individual to become active member of the community (Child & Rodriques, 2005). In the
Camden Crawl Contest post with examples of submissions (Case 4), ASOS selected a few
submissions to encourage other customers to follow their lead. This pre-selection can be
taken as what they feature as best effort. The same encouragement can be found in the The
Great Escape Festival – My Festival Photo contest (Case 14). ASOS lets the customers
know that „As usual, you lot haven‟t disappointed us in the hunt for awesome photos. We‟ve
had hundreds of entries so far but here are 3 of the best to give you some inspiration..‟. In
this sense, a certain direction is given to the content that will be submitted and the users
whom will participate. This again builds and contributes to the core community of ASOS.
Furthermore, by featuring and highlighting certain looks of celebrities and random streetstyle, ASOS portrays a certain look, perspective and idea of fashion with which the core of
their community will most likely identify itself with. For instance in the Coachella photo-album
(Case 5), ASOS explicitly underlines for their customers to „check out what they wore, and if
you want a piece of the action, you can shop festival fashion here: http://asos.to/J5GsBV‟.
Thereby, ASOS is indirectly identifying itself to certain fashion looks of celebrities and
shaping the identity of the Facebook space by arranging the wall with posts and concepts. In
the third album photo, ASOS places a subtle focus on must-have items through a similar
caption; „Harley Viera-Newton joined Kate Bosworth and Sky Ferreira in their thinking that
denim shorts make a festival outfit. Shop denim shorts: http://asos.to/HMykYk‟ (Appendices,
Case 5B). To illustrate that this approach is effective, in the comments by users on this
photo, a redirection to the worn clothes can be found in an embedded link (Appendices,
comment 55). Simultaneously, this post with a highlighted outfit is also commented on by one
of the more prominent actors; fashion-meets-art, engages oneself which illustrates the
identification in style by the user.
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All in all, by posting fashion examples with embedded web-shop links, ASOS portrays an
identity with which users can affiliate themselves with and thereby contribute to sense of
collectively. This feeling of belonging is also visible by prominent actors whom engage in
these posts and can be seen as the actors ASOS is affiliated with by other users online. It
therefore becomes an ongoing process of attracting the right main actors and shaping the
space in order to achieve an identity coherent with what ASOS wants to portray.
Twitter
Different from Facebook, Twitter has more restrictions in content which can be shared
among users. Photo uploads and short, 140 character messages can be posted on the
timeline in this platform. Yet the posting of YouTube videos is not supported by the format of
Twitter, only the mere link of the videos can be embedded (these can however directly be
accessed through the Web-browser). The simplicity and compactness in its design has lead
for Twitter to be known as a micro blog, with clear-cut and regular updating features
(Thoring, 2011). Thus in terms of media richness (Kaplan & Haelein, 2010), Twitter is not the
most facilitating platform. The amount of information is limited, yet the posted tweets are high
in personal representation, as every post of interactive nature is individually directed. This
also puts forward another limitation for research; consumer to consumer interaction cannot
be analyzed through the ASOS Twitterfeed, as the (mutual) mentioning of users other than
ASOS is not displayed in the feed. The Twitter account of ASOS has 328.528 followers and
follows 432 users on this platform. Looking at the position of ASOS with regards to effective
Twitter usage for businesses, a comparison to the study of Thoring (2011) can be made.
Twitter usage for business is most successful for medium sized organizations whom can
foster benefits through Twitter interaction. The ideal position in which businesses can be with
regards to followers and followees is to have the freedom to choose which individuals (or
other organizations) to follow on Twitter and still have a significant number of followers to get
business messages across. Exactly this position is allowed for by ASOS, the organization
has more followers than followees, indicating to be selective in its personal timeline. The
accounts that ASOS has selected (followees) are all affiliated with fashion.
Moreover, apart from brands, magazines and hip locations or events, a fair share of
fashion bloggers is being followed by ASOS. Therefore different from Facebook, the
prominent actors are made more visible in the selection by ASOS. During the time period of
analysis, no coherency could be found in the users engaging on Twitter with regards to the
case-study focus (Appendices, comment 179-183, 186-199, 202-205). Prominence of actors
other than the accounts selected by ASOS its Twitter account should become prevalent
through re-tweets, mentioning of ASOS or being mentioned in tweets by ASOS.
47
The allocation of members engaging in the Twitter platform provided by ASOS therefore
seems loose and equal, rather than hierarchal.
This non-hierarchal division of Twitter users connecting to the ASOS account,
excludes the hierarchal characteristic of a virtual community (Baym, 2006). This implies that
the sense of community is brought through different factors. As been outlined by Baym
(2006), the other features of a virtual community include a normative regulation and
supportive character. Due to the format of Twitter, users cannot react to posts with a different
topic than initiated by ASOS as was the case for Facebook (see previous section). Thus if
ASOS posts a tweet, it does not mean that the response through a mention of ASOS will
include an answer to a posed question or issue of the particular tweet by ASOS. However,
during the time-span of the case-study festival focus, some customer interaction is noted for
analysis. The natural way that interaction is normatively regulated being brought about can
be illustrated by the playfulness in this interaction. Instead of solely ASOS sending out a post
that allows for interaction (see Facebook section), in the Twitter platform it is allowed for a
reversed approach as well. As Megan Gaffey tweets: „@ASOS magazine pops through the
letter box and I‟ve just been paid, this is dangerous‟. The mention by Megan is replied by
ASOS: „@_MegGaff Uh oh! Are you gonna indulge in something special?‟(Appendices,
comment 171). In this sense, the customer engages oneself with ASOS from a personal
initiative. Another example can be taken from the mention by Audrey Rogers: „Just bought
this from @ASOS – been wanting this one for so long‟, to which ASOS replies: „So cute!‟
(Appendices, comment 173). What is noteworthy about this interaction, is that the reply by
ASOS is re-tweeted by Audrey, which can be interpreted as an action of appreciation for the
response given by ASOS. Also the supportive character of a virtual community is being
enhanced by ASOS in the Twitter space. Apart from handling order affiliated interaction by
forwarding the customers to the ASOS Here To Help Twitter account (Twitter account that
collects the problems encountered by ASOS customers) (e.g. Appendices, comment 176,
177), ASOS interacts with its customers about other issues as well (e.g. Appendices,
comment 178, 201). Taking the example of Siobhan Turner, she asked ASOS to help her
find a certain item from a picture.
ASOS replied to her: „We don‟t have that exact one, but how about this one? Pretty
similar. Bit.ly/HMUHvk‟ (Appendices, comment 174). Another question, posed by Faye Jones
asked ASOS the following: „@ASOS hi do you know if your getting any more of the yellow
and black brush stroke bodycon dresses in? Xxx‟ and was answered by ASOS the same day
(Appendices, comment 201). This illustrates the effort of ASOS in a supportive attitude
towards its customers. Within the case-study focus, only one festival post raised a question
by an user.
48
Jennie D asked after a Camden Crawl Festival tweet by ASOS what was exactly meant by
the instructions given to participate in the contest. The response by ASOS;
„@alia_kel_aderon Yep that‟s correct! Check out this link for full details bit.ly/HwXACh‟
(Appendices, comment 181). The response by ASOS was made favourite by Jennie (this
means it is listed as favourite tweets on her Twitter account), which can be interpreted as
appreciation for the help. The re-tweeting and favoriting of tweets by ASOS leverages extra
online recognition and strengthens its participation in the community, thereby contributing to
the sense of collectivity. The before mentioned selectiveness in followees can also be linked
to identification process which leads to a sense of collectivity. The accounts ASOS selects to
appear in the Twitter feed are the type of customers ASOS wants to be identified with. This
practice leverages beneficial activity, bloggers mention ASOS products in their tweets about
blog-posts as was the case of fashion blogger Clare Astra (Appendices, Comment 172). Also
the ASOS US reporter Indigo Clarke mentioned ASOS during tweets about her reporting of
the Coachella Festival. Indigo mentioned ASOS in reference to must-have items; „Denim cutoffs as far as the eye can see, in every possible style, at Coachella - @ASOS community‟
(Appendices, comment 202). The tweet by Indigo was re-tweeted 7 times and favorited once,
this illustrated the affiliation of the customers, which again contributes to a sense of
collectivity.
Building on the characteristics of Twitter, the format does not allow much for certain
dimensions of power on behalf of the consumer. The social dimension through which
customers can pressure ASOS by a joining in e.g. discussion to strengthen the consumer
position within the community is difficult in the platform of Twitter as the Twitter feed of ASOS
does not display the discussion going on between customers. Therefore, in supporting each
other on joint issues, customers cannot bond and express this strength within one space.
Either way, the tweets are personally sent and directed to ASOS and even if experience on
certain problems is shared, it is not visible on the ASOS feed unless @ASOS is mentioned. It
is not impossible, yet the 140 character restriction makes it highly unlikely, as all the
characters in the @-accounts are part of the limit. What we see in the Twitter platform
however, is a conversion of the dimensions in consumer power. The most evidently
exercised dimension of consumer power on Twitter, is the technological empowerment to
customers. The access to the platform of Twitter generates a direct and personal link to the
business of ASOS and provides for a one-to-one interaction. The possibility for customers to
track and check their orders online gains a new addition to their power as they can socially
interact and engage in Twitter whenever they run into unforeseen issues.
49
Cassie Naughton expressed her inconvenience when her order did not go correctly; „I can‟t
believe it! First time round my @ASOS top doesn‟t arrive, then a replacement was sent out
and delivered and it‟s the wrong colour!‟ (Appendices, comment 177). The technological
empowerment of the customer, in this case Cassie, gains a social dimension as her tweet
was not directed as a complaint or question to ASOS. The @ASOS mention in this case can
be taken as a public review of experience. In other words, by connecting to the ASOS
account on Twitter (@ASOS), Cassie shares her knowledge and experience, thereby
extends her position as customer through both a social and technological dimension as her
input is visible to all users engaging in the Twitter space of ASOS. This kind of empowerment
can again be linked to creating a community, the knowledge of one individual is being sent
out for other members to gain and learn from.
Pinterest
On the social media platform of Pinterest, ASOS has 7066 followers and 19 followees. As in
the space of Twitter, ASOS can make optimal use of its position by being selective in
following other users (Thoring, 2011). As with Twitter, the accounts ASOS selected to follow
are affiliated with fashion, such as ELLE UK or Dazed and Confused, both fashion glossy
magazines and several bloggers. The Pinterest board related to the case-study focus is the
Your Favourite Festival board of ASOS in which pictures by users participating in the The
Great Escape Festival contest are uploaded. This particular board account for 5732
followers, meaning that the pictures pinned by ASOS are integrated in the Pinterest feed of
these users. In terms of media richness (Kaplan & Haelein, 2010) Pinterest is limited in the
amount of information it can submit. The pinned items can be taken from the Pin-market
(gathering of existing pins on Pinterest), be pinned from external websites to Pinterest with
the pin-button application on web browsers or be uploaded by a user. The pins from Pinmarket and items pinned from other websites always embed the link of the original websource, the uploaded pin however do not. Since the customers participating in the The Great
Escape Festival contest have submitted their pictures by e-mail, ASOS has uploaded all the
pins to this board separately. Therefore, the richness of the information on the festival board
is limited to the Pinterest platform and do not forward customers to another website. The pins
and pinboard as a whole can be shared to Twitter and to Facebook, however, this option was
not used for the pins and for the whole board, it has been shared to Facebook 6 times (of
which once by ASOS itself). The second Pinterest board is the Festival Style pinboard and
has 5788 followers. This board has not been shared at all and nor have the individual pins to
this board.
50
Different from the other board, the pins in this pinboard were pinned from the festival style
guide Fashion Finder section on the shop-website of ASOS. The customers are redirected to
this section of the website when they click on the pins.
What must be noted, is that there almost has not been any interaction on both
boards. The Your Favourite Festival board had two pins (out of 102) on which were
commented. The picture by Laura Gill submitted for the competition was repined once by
herself and she also was the only one to comment on it; „@Kat Meadows yeaaah‟
(Appendices, comment 170). Apart from this comment, Sparkles Tam commented on the
picture submitted by Jenna Foxton; „this is brilliant‟ (Appendices, comment 169). On the
Festival Style pinboard there were comments to the pins at all. The opportunity for interaction
on Pinterest is there, as the options are comparable to Facebook. The pins can be shared
(re-pinned), liked and commented on, yet this did not occur during the case study focus. This
given seems to reject consumer power in this platform. However, it can also be taken as an
illustration that consumers do not perceive Pinterest as an effective platform to empower
their position pertaining to ASOS. The same perspective can be used with regards to the
sense of collectivity. With the comment of Laura Gill being a exception, there is no customer
to customer nor business to customer interaction. Also, the number of re-pins and likes are
relatively low, the larger part is not re-pinned or liked at all and only 11 pins from both case
study boards had 4 or more re-pins or likes (Appendices, comment 17A-F, 20A-D). The
sense of collectivity thereby does not seem to be enhanced, not by the customers and
neither by ASOS. The facilitated platform allows for identification through liking and repinning the content found on the boards of ASOS. However, as been mentioned before, the
activity in the Pinterest by a few out of almost 6000 subscribed accounts seems to indicate
that Pinterest is a dead social space.
Instagram
The Instagram mobile phone application does not seem as a SNS at first sight. It is a
platform that filters and frames photos after being taken on a Android mobile phone and
shares it in a social feed. The posts can be shared to Facebook and Twitter, however, the
posts of other users cannot be shared to one owns profile nor to other platforms. When a
personal post is shared to another platform, a small link is embedded in the post, forwarding
to the website of the mobile application. However, the profile cannot be updated through the
website and it does not allow for uploading pictures either. This makes Instagram a unique
type of SNS, it is accessible through the Web, yet to engage in the platform as well as with
others one must be connected through a mobile device. A lot of features of Instagram include
characteristics of other SNSs, photos can be liked and commented on and accounts can be
followed.
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In terms of actors, ASOS does not have any followees on Instagram. With 78057 followers
on Instagram, ASOS is in a unique position compared to its accounts on other platforms.
Looking at prominence in the actors engaging in the Instagram platform, it is hard to
distinguish a hierarchy. As ASOS did not select users it wants to be affiliated with (like the
fashion affiliated followees it connected to in Pinterest and Twitter), actors themselves need
to make themselves more visible and prevailing. However, the photos posted by ASOS
sometimes take up to 6140 likes and 165 comments (Appendices, comment 225) and these
posts do not push forward a clear pattern of actors engaging more than others.
Yet the sense of collectivity, can also be brought about by a feeling of belonging to
the community on Instagram. The expression of this feeling by users through the platform of
Instagram evolves mainly about liking the posted photos and sharing their opinion on a joint
matter. For instance the photo of the Dr. Dre performance on Coachella Festival illustrated
the affiliation with the captured moment by the customers; modernglitchplan comments with
envy: „I envy you so bad!!!!‟ and _rossee: ‟that‟s my dream concert!! So jealous‟ (Appendices,
comment 208). The same occurred when ASOS reported on the Snoop Dog concert and the
The Weeknd concert. Several users expressed their affiliation, such as cecilecbrt:
„Snooooop‟ (Appendices, comment 209) and fashionology_x: „Damn i wish i got to see the
weeknd‟ (Appendices, comment 212). The reactions to the post can be interpreted as a
shaping process by ASOS, the pictures ASOS selects to post to Instagram indicates what
kind of culture they want to be identified with. Thereby, the actors engaging themselves in
the posts, either by liking or commenting on the photo, are the actors ASOS would want to
feel triggered and belong (thereby shape) the identity of ASOS. The interaction by the
customers in Instagram demonstrates not only affiliation with ASOS, they also concern
themselves for the community as a whole. A good example of this can be found in the
comment by hayleyuk: „So asos what is all this Instagram flood of crap where is the fashion
the clothes shoots etc >.>‟ (Appendices, comment 221). There are certain expectations by
the customers affiliating with ASOS and this given itself indicates a strong a sense of
collectivity, as the customers concern themselves with what they can engage with and how
they perceive ASOS; in this case how they cannot see the connection of the posted item to
their perception of ASOS its identity. However, from the perspective of ASOS, a customer
that cannot identify or appreciate music, is less likely to be the type of customer they would
like to be affiliated with. The second factor for a sense of community can be seen in the
interaction around a photo taken from the ASOS reporter on Coachella day three. The dress
worn in the photo was discussed among customers, mackenziefick commented: „Is that
perfect dress from asos?‟ and more directly posed to ASOS, ameliasalt asked: „@asos
where can i get this dress?‟.
52
ASOS did not reply, however, delphinaish gave a detailed answer; „zara made a similar one
a few seasons ago and if I‟m not mistaken, this one is from topshop this season‟. Her insight
then got confirmed by other customers, evangelineyan: „Dress from Topshop!!‟ and even
more updated support by misschoo: „Topshop!! It‟s sold out guys‟ (Appendices, comment
222). Even though ASOS did not participate any further in the interaction between the
customers, this conversation does capture the supportive nature in communication through
the platform of Instagram. Instagram therefore does seem to leverage a community sense to
the customers of ASOS interacting within this platform.
Blogs
The blogs by ASOS; Press Play, Spotted, Medium Rare and Kate‟s Closet, were not all
active during the case study focus. Only the blogs Medium Rare and Spotted interplayed with
the festival contests or festival affiliated topics, Press Play and Kate‟s Closet are therefore
disregarded. The blogs are all however constructed identically, they can be found through
the ASOS website and provide identical features, these being; a Really Simple Syndication
(hereafter RSS) feed, comment space and a Facebook-, Pinterest-, Twitter-sharing option.
The RSS feed of the ASOS blogs provides customers a blog-update in computer reader
applications, these are applications in which customers can „subscribe‟ to the blog and read
the latest post in a special inbox on their computer. In terms of media richness, the blogs
provide a rather limited information feed, solely posts by ASOS its bloggers are allowed in
the platform. These posts however can contain embedded YouTube content and photo‟s, yet
the comment option on the blogs are intended for the post as a whole (no commenting on
separated post items). As for prominent actors, the bloggers mentioned in the blog captions
are the only reoccurring users. Even though there is some activity in the space by other
users, it seems rather random and most of the time there is not activity at all. Therefore the
sense of collectivity nor the prosecution of consumer power cannot be evaluated. Potentially,
consumers can comment on the blog posts by ASOS in which they could engage with the
content presented to them. However, given the lack of activity of consumers and the low
frequency of blogs posts with regards to ASOS, it seems that the blog platforms are mere
dead spaces. Since there are no comments added during the case study festival focus, the
analysis of interaction on the blog platforms cannot be conducted.
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6.2 Analysis of interaction
Going through the comments of both customers and ASOS in various social media platforms,
a labelling process has been conducted. Several reoccurring themes have been
distinguished, these being; Spelling (SP), Personal (P), Post Related Answer (PRA), Order
Affiliated Problem (OAP), Order Affiliated Problem Solving (OAPS), Problem Affiliated (PA),
Problem Solving (PS), Personal Promotion (PP), Ending Discussion (ED), Post Affiliated
Problem (PAP), Post Affiliated Problem Solving (PAPS), Organizational Problem Solving
(OPS), Post Related Direct Discussion (PRDD), Post Related Discussion Solving (PRDS)
and Unintended Interaction (UI). These labels have been assigned to comments under the
following criteria:
Table 5 – Overview of Labels and definitions.
Label
Spelling
Abbreviation
SP
Personal
P
Post Related
Answer
Order Affiliated
Problem
Order Affiliated
Problem
Solving
Problem
Affiliated
Problem
Solving
Personal
Promotion
Ending
Discussion
Post Affiliated
Problem
Post Affiliated
Problem
Solving
Organizational
Problem
Solving
Post Related
Direct
Discussion
PRA
OAP
OAPS
PA
PS
PP
ED
PAP
Definition
Comment includes remarks on wrong spelling, either by
oneself or by ASOS
Comment includes a personal reference to a friend which
cannot be understood as a contribution meant for the
whole community
Comment includes remarks on the posted topic
Comment includes remarks or questions on a personal
order placed at ASOS
Comment includes ASOS admin responding and solving
an order affiliated problem
Comment includes remarks on a problem other than order
affiliated and other than related to the posted topic
Comment includes effort by ASOS on solving a problem
other than order affiliated
Comment includes remarks or content for personal
promotion by the users
Comment includes an indication of closing an ongoing
discussion
Comment includes problem raised on the posted topic
PAPS
Comment includes effort by ASOS solving a post affiliated
problem
OPS
Comment includes effort by users on solving a raised
issue
PRDD
Comment includes directly user-to-user discussion
remarks
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Post Related
Discussion
Solving
Unintended
Interaction
PRDS
Comments includes effort by ASOS on solving ongoing
discussion
UI
Comment includes interaction which was not intended to
be enhanced
Facebook
Taking the overview of all the cases on Facebook, certain patterns in narrative pushes
forward. There are two main natures for interaction; the first one is post related commenting
and the second one is order problem affiliated dialogue. Post related comments mainly
concern customers expressing themselves on the posted topic by ASOS, as was the case in
the first post on the Camden Crawl Contest, where both Marie Black and Jenna Wright
comment on the fact that they need to show the ASOS label on a photo in order to
participate; Marie: 'but i always cut the labels out :(' and Jenna: 'Me too. Labels - awkward'
(Appendices, comments 4 & 5). The same occurred in the case of the third album photo of
the Coachella album, where seven members commented positively on the look which was
presented and which even resulted in organizational problem solving narrative when Peiling
Zheng left the other member with a direct link to the discussed item (Appendices, Case 5B).
What may be more interesting, is that the second most prominent narrative by ASOS and the
customers is order affiliated. About half of the posts contain comments by users and ASOS
admins that discuss problems with orders from the web-shop, regardless of what was the
intended topic in the post. A particular example to illustrate this is the case of the Festival
Ready photo album (Appendices, Case 6). Nine out of ten comments on the photo album
included questions and answers on order issues experienced by customers. Apart from the
prominent narratives in the platform of Facebook, there were also two cases that resulted in
a personal discussion between customers. One of them was caused by the Coachella
Festival photo of Hanne Gaby. One of the first comments was made by Evie Stothert; 'i bet
nobody would comment on a photo like this saying 'ew, shes so fat', so why make equally
damaging comments avout thin girls? she has great style, and that what the photo is
supposed to be focussing on...' (Appendices, comment 56). This comment received 48 likes
by other members, which can be interpreted as a support and agreeing to her vision.
However, Kasia Ferner replies; 'eviestothert - style no doubt but some health problem as
well.' (Appendices, comment 57). Thereafter, the discussion got so intense that ASOS felt
the urge to break in end calm the matters; 'Hey guys, we love that you all have your own
opinions but lets keep all comments respectful of others' (Appendices, comment 69). A final
prevalent given is the personal promotion of members; in several posts, users left links in
order to promote personal information.
55
An example of this is Sabir Khan, promoting his advertising agency: 'Hi we create great
advertising ideas, so that our clients create their great brands. we offer CMS website design
and dev including hosting. Just $300.' (Appendices, comment 41). Whereas Sabir promotes
its own business, a more community-sensed request was posted by Joan Carcia. Joan
asked the other members: 'Hi guys, can you help my friend win a free trip to NY? Just give a
like, thank you so so much! XOXO' (Appendices, comment 153).
Overall, the dialogue by the customer as well as ASOS is friendly and playful. This
can best be illustrated by the way ASOS and the customers address each other, for instance
when Misz June asked ASOS for help on her order, she thanked ASOS for the reply, on
which ASOS answered 'No worries Misz! ASOS Casey). Even in the problem solving
narrative, ASOS as well as the users remain in a friendly dialogue. Going back to the
discussion triggered on Facebook, users can get 'ugly' in their communication, not only in
commenting on ASOS posts, also towards each other. Returning to the case of the photo of
Hanne Gaby (Case 5B), Em Rose commented; 'She would make a very stylish stick insect!'
(Appendices, comment 64) as did Sarah Breheny: 'please someone feed her. now.'
(Appendices, comment 68). This tone can also be found in the Sky Ferreira photo of the
same album (Case 5D), where Vicky Quaknine commented: 'semi-morte?' (Appendices,
comment 70), a comment which received 39 likes as support by other members. In that
same posts, also other comments were made such as 'Dug up!!!' and 'Has she seen
Daylight... or Dinner? haha' (Appendices, comment 72 & 74). Taking a different case, Tess
Roosenstein commented on the first album photo of the Rain-proof and Festival Ready case;
'exusez-moi but this model is way too thin' (Appendices, comment 89) and received 15 likes.
Interesting here, is that she used the likes on her comments as defence, when Taylor Bufkin
shared a different opinion; '@taylor bufkin.', 'the 'likes' on my comments don't lie :)'
(Appendices, comment 93 & 94). This type of dialogue fits with the informal character of the
Facebook space. Also the liking on comments with a 'ugly' tone by other members illustrates
that a certain level of rudeness is accepted within the community.
The type of interaction on the platform that goes on in the platform of Facebook
measures multiple levels of interactivity. As indicated in the previous chapter, there are three
levels of interactivity; sensory, semantic and behavioural. Overall, the interactivity on
Facebook is of a semantic to behavioural level. The posted items are engaged in by the
members of the Facebook community, the likes and comments indicate that they assign
meaning to the information they receive. By nature, the organized contests are of a
behavioural level, as they encourage customers to undertake an offline action (send a
festival picture or take a picture of their garments with the ASOS logo).
56
However, also without ASOS giving an indication for further behavioural action, it is found
that members themselves can direct each other into actions beyond the Facebook medium.
This can be illustrated by the cases from the previous section from this chapter, in which
customers redirected other members to the ASOS web-shop to find portrayed posted items.
The semantic level can be illustrated with the case of the Camden Crawl contest winner
(Case 7). The winners expressed their joy (Appendices, comment 106, 110, 111,115, 116)
and then Poppy Scarlett Lepora asked for further directions of what happened with the
tickets (comment 117), which was followed-up on by other members (comment 119, 120).
This shows that the interactivity that takes place includes multiple users engaging in a topic,
thereby enhancing the reciprocal feature of semantic interactivity. The only post which was of
sensory level was the My Festival post (Case 14), which did not receive any comments,
indicating that users acknowledge the post as sensory information, which is confirmed by the
fact that this post did receive 217 likes.
Twitter
The overall dialogue on the Twitter platform is signified by unintended interaction between
customers and ASOS. Due to the format of Twitter, tweets can be constructed in such a way
that ASOS is mentioned, even though the actual tweet is not directly posted to the company.
This can be illustrated by Megan Gaffey, who mentioned the ASOS Twitter account in her
tweet about receiving the ASOS magazine. Still, ASOS replied to her, asking her: 'Uh oh! Are
you gonna indulge in something special??' (Appendices, comment 171). Another example of
this can be found in the tweet by Audrey Rogers: 'just bought this from @ASOS - been
wanting one for so long', to which ASOS replied: 'So cute!!' (Appendices, comment 173).
However, it does not necessarily mean that the unintended interaction is not appreciated by
the user. In fact, for the case of Audrey, the response by ASOS was re-tweeted by Audrey
herself which can be taken as an acknowledgment of this effort. This appreciation through retweets can also be found in tweets concerning order affiliated problems, the replies by ASOS
with a redirection to the @ASOS_heretohelp account have been retweeted by users.
The dialogue in the Twitter medium overall very playful. Even when the unintended
interaction mentions them with a negative connotation, ASOS still replies in a friendly tone:
'Ohh no!! Let @ASOS_heretohelp know and they will get it sorted right away!!'. Also the
response to Clare Astra and her tweet on wearing '...@ASOS dip-die skirt' (Appendices,
comment 172) was replied to in a playful tone; 'Pastel perfection.'(Appendices, comment
172). The comments of ASOS to tweets by its customers are in the same discourse as they
are being addressed; there is no superior tone in their replies and the comments are
acknowledging to their customers presence and can be interpreted as appreciative for the
interaction they provide.
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The level of interactivity in the platform of Twitter is mostly sensory. Keeping a focus
on the posts concerning the festival contests, only one tweet answered the post send out by
ASOS. Jennie D asked ASOS: 'Do you literally mean a picture of the ASOS label inside an
item or clothing??' (Appendices, comment 181). This has been the only moment of an
occasion in which interaction is following from a topic initiated in a posted tweet by ASOS,
instead of vice versa. Analyzing other tweets posted by ASOS concerning the festival focus,
the level of interactivity remains sensory. The posts encouraging participation in the festival
contest did receive multiple re-tweets and were favorited among users. However, it must be
noted that a share of these re-tweets and favoriting was done by the Twitter accounts of
these festivals, as well as companies with personal interest in these festivals. The Instagram
report of the Coachella Festival also illustrates this level of interaction, the posts are
acknowledged by the actors within the space of Twitter through re-tweets and favoriting,
even in high frequencies. Thus this interactivity does not move towards a reciprocal
engagement after the sensation of experiencing the posted item.
Instagram
The overall interaction in the platform of Instagram are found in post related comments,
meaning that in almost all cases the responses contained opinions on the posted photos.
What is recognizable for the dialogue in these comments, is that they are rather short and
compact such as in the Ferris wheel post (Appendices, comment 215). The comments which
were posted were in the line of 'Nice', 'Sick.', 'Nice shot.', 'amazing :)' and 'Wheeee'
(Appendices, comment 215). Of course, this can partly be assigned to the format of the
medium; it draws heavily on the use of a mobile phone device, this narrows the use of this
medium and makes it more likely that it is used on the go. However, more extensive
interaction was also found in this platform such as the organizational problem solving
narrative as been discussed in the previous section of this chapter. Some of the interaction
on Instagram even led to personal directed discussion, as was the case in the Long haired
beauties at Coachella post (Appendices, comment 223). Januaryjig agitatedly expressed a
negative opinion the Chanel bag which was worn by one of the girls in the picture, which was
the start of the discussion. D_khounnoraj enters with a reflective comment: 'Chanel makes
three types of quilted purses with chain straps. The chick in the picture has a should version
and is trying to wear is as a crossbody bag'. Januaryjig replies: 'I get this breakdown but dont
understand how anyone thinks its OK to wear a shoulder bag under your armpit #tacky' with
which d_khounnoraj agrees: '@januaryjig well its a bunch of west coast LA girls who thinks
this shit looks good #barf'.
58
Interesting to see is that kathmollow also joined the discussion, calming the matter down:
'She's at a festival idiots...who cares how she wears it as long as she dont lose it??!', to
which two other users agree in posts that follow thereafter (Appendices, comment 223). As
with Facebook, the dialogue in Instagram can get to a certain level of rudeness. This
illustrates that this type of commenting is not always appreciated by other members of the
community, meaning that not all types of interaction that are naturally constructed within
community are fully accepted. The final type of narrative that has been accounted for in the
platform of Instagram is personal promotion, which was prevalent in about half of the posts.
Other than Facebook, users do not promote a certain good or service, but attempt to gain
more followers on their personal profile in Instagram. An example of this can be taken from
the Panorama photo post (Appendices, comment 221), where chirico93 comment:
'Awesome! Like creative photo's, take a look at mine :)' and in the same post, a comment
from isabellemaris56: 'A beautifull followee for a followee?? Please everyone, i'll do it'
(Appendices, comment 221). This also occurred in the Mulberry pool post (Appendices,
comment 226), where infinity_summer commented: 'Amazing photo. Please follow me, I
always follow back <3 x.X' (Appendices, comment 221). As these types of post were
prevailing often, the personal pursuit for gaining more followers is a practice which signifies
part of the practice on behalf of the users in the Instagram platform.
The level of interactivity in the platform of Instagram is of a medium semantic level. All
posts received comments which reflected upon the opinion of the users engaging themselves
in the post. This indicated that the object which were being send out (in this case the photos)
were acknowledged by the users and moreover, the users assigned meaning to the
perceived items. As they also engaged with each other, the users in the Instagram medium
also illustrated the reciprocal way of interaction which is a characteristic to this level of
interactivity. There were also a occasions in which users did assign meaning to the perceived
object which were expressed in comments, but which did not enhance the reciprocal aspect
of semantic interaction. This means that they did actively received the posted photo, but
which did not make them interact with another member within the space by addressing them
separately or posting a follow-up comment. This occurred in slightly less than all Instagram
cases, which makes the interactivity on this platform medium to strongly semantic.
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Pinterest and blogs
As Pinterest only fostered 2 comments over the whole analysis span, the interaction in this
space is not to be called significant. Also the blogs Spotted and Medium Rare, did not
enhance any comments at all. The activity that occurred in both spaces are therefore
considered to be of a low sensory level; the items which were posted on the platforms gained
some sensory interaction (the few likes, pins, tweets and posts) but overall served as mere
perceived objects. Due to the lack of data for interactivity in these platforms, dialogue cannot
be analyzed. Also, the little interactivity that could be found in sharing content to different
platforms does not seem to indicate that there was a large acknowledgement and sensory
appreciation for these posts. Therefore, the type of interaction taking place within these
platforms, is considered to be from a low sensory level.
6.3 Interconnectedness of platforms
To illustrate what is meant with interconnectivity of platforms (Chapter 2), a focus is placed
on the Instagram photo report of the Coachella Festival. These photos were reoccurring in
every social media platform by ASOS during the case study focus.
Each platform allows for a different kind of interaction, sometimes due to format and
sometimes due to the culture of the space. For instance the Twitter space does not allow for
multiple actor discussion in the same way that Facebook can foster discussion grouped
together in one post through comments. As been put forward in the previous section of this
chapter, the Twitter posts initiated by ASOS did not foster much interaction in the form of
tweets. However, the posted Instagram pictures were re-tweeted and favorited multiple in
this space, which can be taken as a form of interactivity significant for Twitter. The photo that
fostered the most interaction was the Sky Ferreira picture with 30 re-tweets and 14 being
favorited 14 times (Appendices, comment 195).
On the Pinterest Festival Style pinboard the Instagram pictures were also posted.
Even though this board has a lot of followers, the photos have barely been re-pinned or
commented on (Appendices, Case 20A-D). The photo that was re-pinned and likes the most
was the Daisy Chains photo with 14 likes and 5 re-pins (Case 20C). The photos of Sky
Ferreira and Hanne Gaby (Case 20 A & B) both received 3 likes and 3 re-pins.The Spotted
blog also featured the Instagram pictures in separate posts. Out of the six posts in total, four
were not re-shared through any medium at all. The most significant post was the photo of the
trucker hat trends, which was shared to Facebook by 52 users. In the platform of Facebook,
the Instagram photos received a lot of likes and comments.
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The album as a whole received 554 likes and was shared 15 times, yet focussing on
individual photos; the most popular one of Harley Viera, with 383 likes. The Sky Ferreira
photo (Case 5D) received 139 likes and Hanne Gaby 89 likes (Case 5C). The Ferris wheel
photo (Case 9) received 806 likes and was shared 29 times and the PULP photo was also
popular, with 216 likes and 3 shares (Case 11). In the Instagram space itself, the photos
gained very much activity by the users. The Ferris Wheel photo was the most popular, with
6410 likes and 158 comments (Appendices, comment 225). Looking at the photos which
were featured on the other platforms as well, the Sky Ferreira picture received 2798 likes and
46 comments (Appendices, comment 232) and the Hanne Gaby photo gained 979 likes and
10 comments (Appendices, comment 214).
Putting this all into perspective, what can be identified is that the content which is
placed on one medium, fosters different amounts of activity in the other. The largest contrast
can be made with the Spotted blog and Pinterest board versus the Instagram, Twitter and
Facebook spaces. Whereas the photos did not enhance much or no interactivity at all in the
first two spaces, in the remaining platforms they showed to be rather popular. What is
important to note here, is that the interactivity in the active platforms was not identical. Taking
a closer look at the Sky Ferreira picture in the space of Facebook and Instagram, the
dialogue in the comments it received in the Facebook post (Case 5D) were resulting in direct
discussion among members, which also included certain rude comments such as 'Member of
the Adams Family?' (Appendices, comment 75). In the Instagram platform however, the
photo was popular in a more positive sense; almost all comments were related to the posted
photo and illustrated remarks as: 'Love it!', 'Awesome :)' and 'Effing fabulous :)' (Appendices,
comment 232).
Not only the dialogue was different, also the level and kind of interactivity that the
photos enhanced were different in the social media platforms. Whereas the photos triggered
heavy discussions and thereby semantic interaction in the Facebook platform with regards to
the Hanne Gaby and Sky Ferreira picture (Case 5 C & D) , the same photos only received
sensory interaction in the spaces of Twitter, Pinterest and the Spotted blog (Appendices,
comment 195; Case 20 A & B). However, it is important to note that the sensory level in
Pinterest and the Spotted blog is different from that of Twitter; even though the Twitter
medium did not enhance engagement in the form reactions to posted tweets initiated by
ASOS, the reoccurring fact of tweets being re-tweeted and favorited by users illustrates a
active acknowledgement of the received objects. This does not seem to be case for Spotted
and Pinterest, the interactivity which was fostered seem rather random than actively
perceived and acknowledged; there was no constant activity to be found in re-pins and likes,
nor the sharing options of the Spotted blog.
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Also Instagram fostered a different level of interactivity with the Sky Ferreira (Appendices,
comment 232) and Hanne Gaby shot (Appendices, comment 214). The interactivity in the
Hanne Gaby photo enhanced semantic interactivity, as a follow-up informational comment
was made by daggy_: '@swimwest that guy is drummer Matt Helders' to which
valerie_morena added: 'artic monkeys!'. The Sky Ferreira photo on the other hand did not
enhance discussion among multiple members, however, with 2798 likes and 46 comments,
the sensory acknowledgement of this photo was relatively high (Appendices, comment 232).
All in all, the photos fostered interactivity at several levels and resulted in different
kinds of dialogue over the variety of platforms. This characterizes both the culture of the
space as well as it puts forward that 'interactivity' is a concept with multiple dimensions. The
Coachella photo report cannot be called mere 'interactive', on some platforms it fostered
strong interactivity whereas in other spaces it resulted in being a passive item. The
interconnectedness of platforms therefore does not mean that the re-sharing of the same
content promises a coherent amount of success. Moreover, it seems that in order to be
successful in reaching a high level of interaction, ASOS leveraged the items in all its social
media platforms and spread the chances of where it would prevail most productively.
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7. Results
The previous chapter has presented the analysis of all the used social media platforms
during the case study focus. The analysis was two-fold, first an extensive outline of the space
was given and second, the interaction that took place during the case study focus has been
examined. During analysis, the sensitized concepts designed in Chapter 5 of this thesis,
have served as guiding perspectives. In this chapter, the findings resulting from analysis are
outlined.
7.1 Actors and activity
The variety of social media platforms used by ASOS encountered a wide range of users. The
number of subscribed users to these platforms goes up to thousands, even more than a
million on Facebook. Analysis looked upon the separate platforms as individual communities,
in which a sense of collectivity could be enhanced. One of the key characteristics of virtual
communities according to research, is the feature of a hierarchy in the group a larger social
whole (Baym, 2006). Findings in the Facebook platform showed that there could be a
prominent actor distinguished; the blogger fashion-meets-art was reappearing in several
posts during April 2012, either through liking posts of other users or through comments.
Other platforms however did not push forward prominent actors during the full case study
focus. Still, a result can be taken from comparing the findings in the different platforms.
Starting with Facebook, the main actor fashion-meets-art only prevailed itself in the posts
which were affiliated with styling and what-to-wear topics. During the case study focus, there
were also posts that revolved around the organized contests for festival tickets, yet fashionmeets-art did not interact in these posts. Given that fashion-meets-art is a fashion blog
concerning itself with portraying a certain style and sharing this information publically for
others to engage with, the higher visibility in the festival style posts by ASOS can be
explained through a higher affiliation with the posted item. The ASOS community is a type of
community that allows for interplay of multiple dimensions to its main shared overarching
venture 'fashion', in this case fashion and festivals. This resulted in having a range of
multiple topics which are discussed in the social media platforms, all attracting different types
of actors. As this case study had a festival focus, the actors that prevailed itself in the post
may well be more affiliated with music or the portrayed style ASOS has send out through
clothing and celebrity icons. The significance of affiliation can be strengthened by findings in
the Instagram analysis where a user expressed dissatisfaction about the non-fashion related
posts by ASOS during the Coachella festival report. In the same post, some 100 other
comments illustrated positive reactions to the panorama photo view, thus illustrated that the
sense of collectivity does not need to be enhanced due to full agreement among members
(Appendices, comment 221).
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Multiplicity in opinions is even appreciated by ASOS, for instance in the Facebook medium
ASOS asks for the perspectives of its users on specific products (Case 5F). Even when
matters resulted in direct discussion among members in an agitated dialogue, ASOS
explicitly underlines that it values the variety of opinions as long as they are respectful of
others (Case 5 C & D). This intense engagement by certain actors in specific posts illustrates
that the item served as an emotional trigger for these members in having their say.
Therefore, the loose construction of a variety of topics in posts, may not have indicated a
pattern of prominent actors throughout all social media platforms of ASOS. Moreover, an
indication can be found for hierarchy within specific posts itself. Apart from an emotional
trigger for interaction resulting in discussion, also informational comments about the
presented items were provided by users. Such comments were notifications of whom was in
the picture, where the worn garments were from or even adding information about the
presented concert depicted in the photo (Case 5 A & B, 6C,19). In this sense, hierarchy in a
community is not found throughout posts, but within posts separately. Within posts, the
sharing of knowledge among members fosters a natural hierarchy, thereby having the person
with the most needed or most adding information in that particular post being the most
prominent one. All in all, actors which are prominent in one post, are not necessarily active
throughout all posts by ASOS in a certain platform. Thereby prominence can be per post and
not throughout all posts. The communities built through the social media platforms of ASOS,
seem to have interest groups within the community as a whole.
The ASOS community also enhances the sense of collectivity through its supportive
attitude towards its customers. Analysis showed that the Facebook interaction heavily draws
on order affiliated problems and this also occurred in the platform of Twitter (see section 6.2).
All of the cases of encountered issues with orders by customers were dealt with individually
by ASOS, even if it took multiple comments due to follow-up questions by customers (Case
2). As ASOS is the initiator of all the platforms, this attitude can be explained through its
thereby responsible position. In the cases that discussion reached a rude level of dialogue,
ASOS also stepped in and felt the need to take responsibility for the interaction taking place
within its space. This occurred in the Facebook medium, in which discussion reached a
disrespectful narrative about celebrity appearances portrayed in posted photos (Case 5 C &
D). However, this responsibility was shared with other members of the community, as not
everyone approved of the direction that the discussion had taken. Several comments mane
the dominant actors within that post and demanded a softer tone of discussion (Appendices,
comment 66 & 71). Analyses showed that when this responsibility was not taken, for instance
in the medium of Instagram, other members themselves felt the need to step in (Appendices,
comment 223).
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The finding that in multiple occasions other members felt the need to organizationally solve
problems, is another indication of a strong sense of community. This situation only occurred
in the platforms of Facebook and Instagram, however, these were the strongest spaces in
terms of activity and media richness and therefore the supportive attitude of both ASOS and
the members is representational for the ASOS community as a whole.
7.2 Nature of communication
The communication that was leveraged in the range of social media platforms by ASOS
encountered a variety of narratives. Analyses however showed a pattern of two dominant
narratives throughout all social media platforms of ASOS. The most prominent dialogue
prevalent in the social spaces covered opinions and perspectives of the customers on by
ASOS posted items (see section 6.2). These opinions ranged from being small remarks or
informational contributions to wider, to more personally directed discussions. Small remarks
on posted items posted by ASOS included opinions by the customers. What should be noted
here, is that findings of the platform of Instagram showed a short and more compact
dialogue, whereas the commentary in the Facebook medium was more extensive. For
instance the photo of Sky Ferreira in Facebook received extensive comments and resulted in
discussion (Case 5D), whereas the same picture in the Instagram received shorter remarks
('Love it!', 'Awesome!) and also the tone was almost opposite in these comments with
regards to the medium; Facebook being negative and Instagram overall positive
(Appendices, comment 232). Furthermore, opinions were not only regarding the portrayed
models or celebrities. Especially the style and the garments which were worn in the posted
items received a lot of attention by the users. This appreciation and expression through the
medium of Twitter was however expressed differently; especially the amount of re-tweets
and favorites served as a measurement of popularity. The higher this kind of activity
happened during a post by ASOS, the more likely it is that users felt positive affiliation with
the item (Appendices, comment 184, 188, 194, 195, 205). Also the informational
contributions to posts deviated in their nature, on Instagram for instance, users
complemented the post by leaving a remark of which band it was and which specific person
was in the picture (Appendices, comment 214). Informational contributions could also prevail
in the form of a notification of the worn brand in the posted photo, both on Facebook and
Instagram (Appendices, comment 46, 222, 223).
Apart from the opinionated narrative, the second strongest nature of communication
could be found in the order affiliated commentary. Even though the posted items by ASOS
did not concern order affiliated topics, the communication leveraged by the posts still
enhanced a fair amount of comments on order issues.
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In the case of Facebook, this given can partly be explained by the format of the space, as
findings showed that customers appear to be confused where to post their questions (see
section 6.1). In the Twitter medium, customers were individually redirected to the
@ASOS_heretohelp (Appendices, comment 176 & 177). However, what is interesting here,
is that in the space of Facebook, customers were not redirected to the ASOS Here To Help
account on Facebook, but were in most cases asked to send a direct private message
concerning their order issue. Also, in some cases it took multiple comments to solve the
issues customers encountered, all patiently and individually handled by ASOS (Appendices,
Case 2, 3, 5-8, 13-15). Concerning the dialogue in these posts, significant differences can be
identified between the platforms of Facebook and Twitter. The order affiliated problems by
customers interacting in the Twitter platform, did not always directly address ASOS with their
issues. The @ASOS mention which lets the tweet appear on the ASOS feed, does not have
to be a directly posted question or remark (Appendices, comment 177). Still, ASOS handled
all the cases individually, as if being directly addressed. Contrasting to this, throughout all
cases in the Facebook platform, customers always personally address ASOS. Also the tone
in the tone in the replies of ASOS is different in the two spaces. Findings in the Twitter space
illustrate a slightly more playful dialogue on behalf of ASOS ('Uh oh!..' Appendices, comment
177) when compared to the more serious tone in the Facebook replies ('Hello Maurice, I'm
sorry to hear that... Thanks, ASOS Casey' (Appendices, comment 32)). Yet overall, the tone
during the order affiliated narrative was friendly and playful with regards to the whole of
comments concerning this topic.
Apart from the two dominant narratives in the communication on the social media
platforms, another type of dialogue appeared multiple times throughout these spaces. The
personal promotion of individuals in the commentary on posted items by ASOS was
prevailing through almost all platforms. The personal promotion could be found in the direct
posting of promoting comments (Facebook and Instagram) and through a mere visibility in
the comments such as liking the comments of other users (Facebook) or make use of the
@ASOS mention (Twitter). In the Facebook space, the personal promotion especially
concerned bloggers in style related posts, trying to gain more followers and companies,
promoting its own products and pages in random posts (Appendices, comment 19,41, 54,
107, 108, 153, 154). In the Twitter space, the @ASOS mention leverages a visibility on the
ASOS Twitter feed. It was often used in-sentence in a tweet and when done so by a blogger,
this visibility leverages an extension of online appearance. However, the personal promotion
in the Instagram space, has a complete different nature. The requests in comments for
followers are personally promoting, however, they seem to be random.
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The pursuit for more followers lies in quantity, rather than quality or having a venture in
common (Appendices, comment 221, 226, 229, 230).
Throughout all social media spaces of ASOS, the level of interactivity was varying
over platforms and even within one platforms, multiple types of interactivity could be
prevailing. The sensory level of interactivity was found in all social media platforms, yet was
of an extremely low level in the platforms of Pinterest and the blogs Spotted and Medium
Rare (see section 6.2). The Twitter platform also leveraged sensory interaction, however, this
interaction had a constant level of re-tweets and favoriting, making the interaction on Twitter
more interactive than the Pinterest and blog interactivity (Case 18). The Instagram platform
fostered two kinds of interactivity, both sensory and semantic types of interactivity could be
identified in the comments. The sensory interaction was of a very high level, going up into
thousands of likes. The semantic level included members discussing the items or celebrities
portrayed in the posted items, thereby assigning meaning to the post and constructing a
reciprocal way of communication among multiple users (Case, 19). This multiplicity in levels
of interaction is best illustrated in the platform of Facebook, in which the posted items by
ASOS gained different levels of interaction. Even if the nature of the post was similar to a
post which received a higher level of interaction, it did not mean that it would receive the
same level of interaction (e.g. Appendices, Case 6B & 6C). All in all, the social media
platforms by ASOS are not signified by the highest form of interactivity, moreover, they are
signified by the variety and interplay of different levels of interactivity, fostering different
types of dialogue (see section 6.3).
To conclude on this part of the findings, it is important to note the significance of likes
and re-tweets in the dialogue of the social spaces. Especially in the space of Facebook, the
format of the SNSs allows users to like each other's comments. This already has been
interpreted as an indication of agreement and support in analysis and can be confirmed by
the comments of users, in which the number of likes on their comments was used as
argument in discussion (Appendices, comment 94). Compared to the re-tweeting activity in
the space of Twitter, it can be noted that this type of action as well as the favoriting can be
interpreted the same. The likes of posts can be used as a measurement of the popularity and
affiliation customers have when sensory acknowledging the posted items. Apart from
strengthening and supporting comments and posts, it can also be used as an indication for
the level of sensory interaction. The sensory interaction in Pinterest and the blogs for
instance encountered none to an occasional 50 likes on a post, whereas the likes on
Instagram posts could go up in thousands, thereby distinguishing a much more interactive
character to the sensory activity by users.
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It is important to understand that this silent way of expression most definitely is part of the
dialogue and communication in the social media spaces of ASOS.
7.3 Platform characteristics and interconnectedness
Each of the social media platforms facilitated by ASOS were different in characteristics as
well as the previously discussed interactivity they leveraged. From the findings, a character
and culture for each of the platforms can be identified.
Starting with Twitter, due to its format and design, it is the only platform facilitated by
ASOS which does not provide for an opportunity to group several comments in one post.
This makes Twitter unique in its media richness, it is compact and limited in the amount of
information it can transfer. However, compared to Pinterest and the blogs, it is still a platform
high with a high level of sensory interactivity. The overall coherent form of interactivity may
also lie in this unique format; discussion in the platform of Twitter is more limited than it is in
the other SNSs, thereby the sensory interactivity is more likely to occur on this platform. The
playfulness and supportive tone in the dialogue of both ASOS and the users are signifying
the Twitter space. ASOS welcomes all tweets by its customers and replies with additional
remarks. This contrasts the other spaces, in which the separate post related commentary
was not individually answered to by ASOS. This provides an intimate connection to the
customer, which is thereby the strongest characteristic of Twitter.
The Facebook space of ASOS is by far the most interactive one and is also space
that leverages the most valuable information. Of course, in terms of media richness,
Facebook allows for multiple sharing options, ranging from YouTube videos to photo-albums
or single picture uploads and mere status updates. The format of Facebook allows for
grouped comments and members discussion, which also was prevalent in the dialogue in the
medium. The overall dialogue in Facebook is friendly and informal, being more serious when
encountering order affiliated issues or when interfering to calm rudeness in discussion
among members. The variety of interaction and the alternation in users being prominent in
the posted items is one of the main characteristics of the space. The culture of the space is
also very supportive, not only in the problem solving sense of ASOS, but also on behalf of
customer to customer support. Exactly this feature leverages the strongest characteristic of
Facebook, the origin of business benefits. Surely, the opinions and perspectives by
customers in the commentary of the posts is valuable in a sense that it can provide
marketing directions for ASOS as the transparency of the medium reveals the preferences in
demand.
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Yet moreover, the situations in which the comments of users resulted in organizational
problem solving narrative; ASOS gained the ultimate marketer position; without doing
anything else but initiating a topic, customers themselves redirect each other to the ASOS
web-shop. This thereby covers the strongest characteristic of the ASOS Facebook space;
the leverage of business benefits.
The Instagram platform of ASOS is not as strong in media richness as the other
platforms for the posted content is limited to the Instagram space and cannot be re-shared by
other members within that same space or to other platforms. Solely the user uploading the
photo has the opportunity to forward the photo to Facebook or Twitter. Yet this limitation did
not seem to affect the amount, nor the level of interaction that took place within this medium.
What must be noted here, is that ASOS itself did not participate in any of the discussions
found in the commentary, not even when customers directly posted questions within the
space. The overall interaction in the Instagram space was playful, especially the dialogue
that took place when customers felt affiliated with the posted item. Only a few occasions of
negative connotations revealed in the platform, however when put in perspective of the
overall interaction that took place in the medium, these were exception rather than comments
signifying the space. The dialogue in the platform of Instagram is also part of its strongest
feature as the interaction that took place was of a very high sensory level and medium
semantic level. The users interacting in the space of Instagram only seem to interact when
triggered by a positive affiliation with the portrayed item. The high level of sensory interaction
is indicated by the likes on the photos which can go up into thousands. This illustrates that
even though the format is rather limited in terms of media richness, the medium can still be
rich of interaction. Therefore, the use of Instagram is optimized by ASOS and its strength can
be found in the number of users interacting in this limited medium.
Lastly, the Pinterest and the blogs Spotted and Medium Rare showed to be from an
extremely low level of interaction, even though the formats of both types of platforms allow
for comments, likes and re-sharing to other platforms. The items posted on these platforms
fostered sensory interaction, which however seemed to be random rather than constant. As
there was no dialogue that took place, apart from two comments, the overall culture of space
could not be identified. Furthermore, the platforms of Pinterest and the blogs seemed to be
dead spaces and served as a mere addition to the online visibility and reach of ASOS in
terms of social media platforms.
All in all the social media platforms of ASOS have a lot of features in common, yet
they all have strong characteristics of their own and do differentiate in the interactivity they
foster.
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The same content can be shared among platforms, yet in different ways of posting the
content as was the case with the Instagram Coachella Festival photo report (see section
6.3). Interconnectedness does not necessarily need to be found in identical content. For
instance the Facebook post on the Camden Crawl contest redirects the Facebook users to
the Medium Rare blog, for further information on participation (Case 1 & 2) and the same
occurred for the The Great Escape Festival (Case 8). This was also the case for the festival
style photo album, which redirected the users to the Spotted blog for a full overview of all the
spotted trends during festival season (Case 5). This practice serves as a circulation of users
through all the social media platforms which were leveraged by ASOS, in which the chances
in enhancing or increasing interactivity over social media platforms are spread. Especially in
the case of the blogs, this redirection could be useful, as the blogs itself did not foster intense
interaction individually. The interplay and combination of platforms, is what illustrates the
interconnectedness between platforms.
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8. Conclusion
The final chapter of this MA thesis will conclude on the results from the findings in analysis
and will answer the pre-designed model of research questions. Also, this chapter will critically
reflect upon the process of research in this study and discuss its strengths and weaknesses.
8.1 Comparing sensitized concepts
This thesis has made use of sensitizing concepts derived from current academic literature to
serve as guides through the conducted content analyses. Before concluding on the study as
a whole, the concepts are addressed separately in order to identify similarities or
contributions to existing perspectives.
“Interactivity”
As been outlined in Chapter 5 in this thesis, interactivity can be triggered by multiple
determinants and when being fostered, the degrees of interactivity can vary. This study
strived to gain an in-depth perspective on the concept of „interactivity‟ by distinguishing
different levels and follow the work of Sohn (2011) in the sensory, semantic and behavioural
levels of interactivity. By taking this approach, interactivity has been analyzed per social
media platform and thereby certain interaction can signify a certain platform of ASOS. What
findings revealed was that the posted items within social media platforms could foster several
levels of interactivity. Instead of having the level of interactivity signifying a specific social
media space, specific social media spaces turned out to represent what kinds of interactivity
they could foster. Resulting from analyses in this study, Facebook enhanced all levels of
interaction, Instagram the sensory and semantic level and Twitter, Pinterest and the blogs
Spotted and Medium Rare enhanced the sensory level, with Twitter (as well as Instagram
and Facebook) having a much higher intensity of sensory interaction.
“Media richness/ social presence and self representation/ self-disclosure”
The second sensitized concept was derived from the study by Kaplan and Haenlein (2010)
and the categorization of SNSs by social presence, media richness, self representation and
self-disclosure. This model allowed for a more narrow perspective on „social media‟ as a
broad concept and proved useful as a guide through the formats of the analyzed spaces. The
conducted analyses has especially drawn from the media richness aspect of the model and
this aspect was thereby used to identify the strengths and weaknesses of each platform. In
terms of media richness, Facebook was by far the richest medium, followed by the blogs and
Pinterest and then Twitter and Instagram. Interesting here is that even though Instagram and
Twitter were more restricted due to format limitations, they did prove to be much more
interactive than the blogs and Pinterest.
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Also the correlation emphasized by Kaplan and Haenlein (2010) on high social presence and
high media richness leading to a higher impact on behaviour can be demonstrated by the
behavioural level of interactivity being enhanced in the richest social media platform
Facebook.
Combining the first two sensitized concepts, a new syntactic model can be identified,
according to the findings of this research. This model is based upon the division in media
richness found in the social media spaces leveraged by ASOS, thereby disregarding the
virtual social worlds and virtual gaming worlds which were included in the research of Kaplan
and Haenlein (2010).
Table 6 - Overview of combined sensitized concepts 1 & 2.
Sensory
interactivity
Semantic
interactivity
Behavioral
interactivity
Low MR
Instagram
Medium MR
Twitter
Instagram
High MR
Facebook, Spotted,
Medium Rare, Pinterest
Facebook
Facebook
*MR = Media Richness
“Consumer power”
As been designed in the method chapter of this thesis, consumer power has empowered
users in terms of access and influence, consumers have moved towards a more powerful
position in the market place (Kucuk & Krishnamurthy, 2007, Table 1). As with many other
hypothetical expectations, the question to how much of this opportunity is used by the
customer rises. This study revealed that even though the opportunities for all the dimensions
of consumer power were present in the social media platforms of ASOS, however, it did not
mean that these opportunities were seized. The richest platform Facebook prevailed all the
dimensions of consumer power, whereas Twitter revealed the social and technological
dimension. As there was a lack of interactivity on the platforms of Pinterest and the blogs,
there was no consumer power seized within these spaces. Also the platform of Instagram did
not prevail any dimension of consumer power, which can also be explained through its
format and the type of interactivity the platform fostered.
“Sense of collectivity”
The final sensitized concept concerned itself with the concept of collectivity. This sense of
belonging to a community allows for individuals to interact and remain engaged with the
business providing this space.
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The more a person is affiliated with the business, the more likely the chance that this person
will continue to participate in the collective space (Child & Rodriques, 2005). The analyses
has first taken the SNS accounts separately in order to see if certain platforms prevailed a
higher sense of collectivity than others. The strong virtual community is known for its
normatively regulated, hierarchal and supportive characteristics which all are being
constructed naturally by the members of the community (Baym, 2006). All the platforms
which enhanced an active level of interaction, were also prevalent of the characteristics that
enhanced the sense of collectivity. This was mainly done through the supportive character of
space on the behalf of both ASOS and the customer (this was the case for Facebook, Twitter
showed support on behalf of ASOS and Instagram on behalf of the users), the hierarchy
which could be identified through separate posts and the natural construction of norms and
values prevalent in the dialogue among members and ASOS. Thereby the Pinterest, Spotted
blog and Medium Rare blog again were excluded of this part of analysis, as they did not
enhance an analyzable amount of interaction.
8.2 Discussion
The conducted research encountered multiple limitations. Starting with the research design,
the chosen festival focus excluded other events from the April 2012 time periods. During this
period, there were two other organized events which put the significance of certain platforms
in a different position. For instance, ASOS organized a small Twitter competition that
requested customers to tweet their worst start of the week in order to win a Cheap Monday
brand jeans. Also, a contest was run for customers to pin their favorite sale-items to a special
ASOS pinboard on Pinterest in order to win a £ 200 ASOS voucher. Adding to that, the same
contest covered a YouTube component, which requested the users to design a hauler video
of their 'scored' ASOS sale-item (Case X 5 & 6). In other words, the significance of certain
social media platforms would not have been excluded when the case study focus was
different and the prominence the platforms as well as the interaction they fostered could have
lead to other end-results.
Secondly, the Twitter and Instagram platforms provide the opportunity of topic search
through hashtags, meaning that when going to the search option in these medium
the # + -topic- will show the results of all tweets labeled with the topic in that hashtag. This
research excluded the use of hashtags, for these tweets are not displayed in the actual feed
and thereby do not fully connect to the interaction taking place in the social media platform
leveraged by ASOS.
73
Finally, a few limitations are found with regards to the settings of certain user profiles
on the social media platforms. Especially in the Twitter space, tweets by users having their
profile settings on private are not displayed in the Twitter feed of ASOS. Therefore, it may
well be that there is a share of excluded tweets which would contribute to the conducted
research. The same goes for the Facebook and Instagram user accounts, when the settings
are private, it is not possible to view the profile of the users or the public information does not
provide a full background or demographic insight to the user. Therefore, in-depth user
background analyses has been excluded from this research.
8.3 Conclusion
The results and findings in the previous two chapters have provided a framework with which
the research model of this MA thesis study can be answered.
Answering the first sub-question of this study; „What is the range of used platforms
and how do they connect?‟, the case study focus identified two forms of interconnectedness
during April 2012. The first one being the Instagram photo report of the Coachella Festival
and the second being the redirection to the blogs Spotted and Medium Rare with regards to
participation in the contests for the The Great Escape and Camden Crawl festival. What the
results illustrated was that in the case of the Instagram photo report, the content was shared
over all social media platforms included into this study. However, the content was each time
shared and presented differently over the social media platforms. In the space of Facebook,
customers were presented a separate photo-album as well as individually posted Instagram
photos, thereby the opportunity to interact in this space was larger compared to the other
platforms. The interactivity in fostered in the platform of Twitter concerning the re-sharing of
the Instagram photo revolved about the re-tweeting and favoriting of the posted items. Even
though this interactivity was of the same kind as was identified in the platform of Pinterest
and the blogs, the Twitter sensory interaction was much stronger and constant. Moreover,
findings illustrated that the dialogue which took place with regards to the posted items, varied
over platforms. Especially when looking at specific photos, a distinction can be made
between the tone and amount of communication which was enhanced after posting by
ASOS. The discussed cases in the analyses of this thesis showed that the Facebook
medium and Instagram contrasted each other with negative and positive reception of the
photos.
74
Also, the Pinterest board and the blogs contrasted the other platforms by enhancing none to
little interaction concerning the same photos which fostered a higher and constant level of
interactivity in Facebook, Twitter and Instagram. The second form of interconnectedness was
found in the redirection form the Facebook platform to the blogs. However, looking at the
findings with regards to the blogs, this redirection did not seem to influence or enhance
interactivity on the platforms of Spotted and Medium Rare.
Therefore, coming to an answer of the first sub-question, the social media platforms
leveraged by ASOS interconnect through the re-sharing of content as well as the redirection
form one platform to the other. Also, the interaction that thereafter is enhanced is different for
every medium in terms of level and amount of interactivity as well as tone in dialogue.
The second sub-question: „What is the nature of the interaction between the users
and ASOS?‟, can best be answered through the variety of narratives which have been
encountered in the findings. Two main narratives have been distinguished after a labeling
process of the data collection of comments from the ASOS social media platforms, these
being: post related comments and order affiliated dialogue. Apart from these narratives, there
was also a smaller pattern for interaction concerning personal promotion by members and
organizational problem solving. The post related comments were prevalent throughout all
social media platforms with the exception of the blogs Spotted and Medium Rare. However,
only in the platforms of Facebook and Instagram these comments occasionally resulted in
personally directed discussion, which would reach a certain level of rudeness in the
commentary. The second narrative which was dominant throughout all the posts, was the
order affiliated narrative. This narrative was prevalent in the Facebook platform as well as the
Twitter space. ASOS handled the encountered order issues by its customers separately in
both platforms, however redirecting them to the @ASOS_heretohelp account in the case of
Twitter and solving the problems in the post in which the order affiliated question was posted
itself in the case of Facebook. The personal promotion by users was prevalent in the
platforms of Facebook, Instagram and Twitter. Interesting to note here, is that the kind of
promotion varied over the platforms. In the platform of Facebook, specific products,
companies or blog were explicitly promoted, whereas in the platform of Twitter, the @ASOS
mention was used by bloggers to gain more visibility in the Twitter space. Moreover, the
Instagram platform only included promotion of the personal profiles of individuals, regardless
of what type of followee they would gain through their comments. The final type of narrative
that was encountered for several types, is that of organizational problem solving narrative.
Both in the spaces of Facebook and Instagram, situations in which customers helped each
other with encountered issues occurred.
75
This could be in the sense of answering a post related question, but more beneficial to
ASOS, could result in the redirection to certain items from the ASOS web-shop.
Before answering the second sub-question as a whole, a small focus with regards to
dialogue must be placed. Throughout the platforms of Facebook, Instagram and Twitter,
users are provided with the opportunity to like posted items. As the likes per photo on the
platform of Instagram can go into thousands, the appreciation of these items contain a high
level of sensory interaction. More specifically, in Facebook comments by other users can be
liked individually and in the Twitter platform, tweets by ASOS can be re-tweeted and
favorited. The constant re-tweeting and favoriting of tweets posted by ASOS can be
interpreted as appreciation of the posted items and especially as the re-tweets appear on the
user time-line, thereby the content by ASOS is extended. The same goes for the liking of
comments by other users in the platform of Facebook. These likes can go up high in
amounts per comment, thereby the appreciation of other users is expressed and the specific
comment can be interpreted as valuable and illustrative for a larger amount of community
members. In this sense, certain comments and thereby certain members become more
dominant in specific posts. This study prevailed a strong indication for this type of silent
interaction to be a significant one, as the value of likes can also be translated as interaction.
All in all, the nature of interaction in the social media spaces of ASOS is diverse and
varies over the platforms. The sharing of opinions was prevalent throughout the platforms
and the problem solving narrative with regards to orders was significant for Facebook and
Twitter and the solving narrative with regards to organizational issues was significant for the
Facebook and Instagram platforms. The personal promotion on behalf of the customers
indicate that the active spaces of ASOS leverage a beneficial space to individuals, in which
they can make use of the interactivity of these spaces. As the Pinterest and blog platforms
have previously been discussed as being mere dead spaces, they are contrasting the other
platforms mainly due to the lack of interaction going on in these spaces. Overall, the main
shared affiliation with fashion seems to be the drive for multiple types of interaction narratives
in the social media spaces by ASOS.
The final sub-question: „What is the culture of ASOS‟ social media spaces?, can best
be answered by the sense of community which was enhanced in the social media spaces of
ASOS. All the social media spaces together built the ASOS community as a whole,
something which is strengthened by the previously discussed interconnectedness of the
platforms. The main elements which were enhanced in the ASOS space were the supportive
nature of space by both the customers and ASOS, the normative regulation of the space and
the hierarchy in actors within the space.
76
Before discussing the other platforms, Pinterest and the blogs are again excluded from this
answer as they did not foster as much and as valuable interaction when compared to the
other platforms. Throughout the platforms of Twitter, Facebook and Instagram, the nature of
the spaces were supportive. The space of Facebook was signified by a supportive attitude on
behalf of both the customer and ASOS, whereas Twitter was signified by a supportive
character on behalf of ASOS and Instagram was signified by a supportive character on
behalf of the members themselves. Moreover, the normative regulation of the spaces
resulted in a playful dialogue signifying the spaces which was interfered with and thereby
shaped by the users as well as ASOS when the tone was found to be too offensive. The
overall identification with ASOS and the fashion affiliated character of the company can be
outlined by the number of followers ASOS has throughout the platforms and more
importantly the followees ASOS selected to be affiliated with. Also the by identifying a
hierarchy in posts rather than the platforms as a whole, allows for encompassing all
prominent actors from different interest groups within the community. All in all, the social
media spaces of ASOS are signified by a playful culture within a strong community of active
actors from several interest groups, open for a friendly way support.
Coming to an answer to the research question of this MA thesis: „What is successful
social media usage for business?‟, it seems that the ideal social media usage for business
should encompass for five crucial factors. Firstly, a strong sense of community needs to be
built in order to provide a space in which the beneficial interaction can originate. This should
be done through a supportive attitude towards the customers, which also is the second factor
for the practice in social media use. Users that strengthen the sense of community are users
that can affiliate themselves with the business as well as with each other. Therefore, it is
important to be selective in which accounts to connect to within social media platforms and
this serves as the third factor. These followees will be a reflection of what the business want
s to be affiliated with and will also built a stronger community as this stronger identity attracts
the right users in the platforms. The fourth factor can be found in the allowing and
appreciating of multiple opinions. Discussion is not something which should be avoided, as it
can leverage valuable information. However, it must be managed and shaped in such a way
which is consistent with the vision and norms and values of the business. The fifth and final
factor for successful social media use for businesses can be found in the understanding and
acknowledging of the strengths and weaknesses of all the used social spaces. Only then, the
business will have the capacity to circulate the content over the platforms in such a way that
it will maximize the interaction in each specific platform and redirect to other platforms which
do not foster a beneficial level of interactivity themselves.
77
Furthermore, also social media spaces which do not seem to enhance a lot of interactivity
should still be included in the interconnectedness of platforms in order to spread chances for
an occasional higher level of interactivity and to maintain the broad scope of online visibility
of the business. In doing so, the business will built the practice of being active, up to date
and consequent in social media usage and will recognize which platforms match certain
marketing campaigns best, thereby also constructing a practice that allows platforms to
complement each other, rather than being separate business spaces.
Final comments
The current academic field did cover the connection of social media as embedded tools in
business models and the social aspects which are grounded in these platforms. It therefore
became the intention to study the communication between customers and business as well
as customers to customers in order to construct a deeper understanding of how the practice
of integrating social media as a tool for businesses comes about. This study aimed to provide
clearer distinctions between platforms with regards to the broad concept of 'social media'.
The classification of social media often neglects limitations due to format and differences in
terms of interactivity and dialogue.
This study has provided an insight into the successful social media usage by ASOS,
thereby signifying the social media platforms in accordance of culture of space, tone in
dialogue, nature of interaction and key format related characteristics. The results of this study
provide for a social framework leveraged by the data collection of comments throughout the
variety of platforms with which the strengths and weaknesses could be signified per social
media space. Furthermore, five key characteristics of best practice have been pushed
forwards through analyses. Overall, this study is a contribution to the field of social media as
being integrated into marketing and businesses. It has illustrated the significance of the users
interacting in the leveraged space and has indicated that the business benefits will not be
gained by simple participation in social media. It is a practice which is more about the
intimacy towards customers and the right combination in interconnectedness of platforms,
thereby recognizing and acknowledging both the strength of the users as well as the social
media platforms.
Further research should strive to extend the analyses of dialogue and compare and
contrast content shared over multiple platforms by businesses. Only then the field of social
media as a tool for business and the field of social media as social spaces encountering
individuals can be brought closer together to redefine the most important aspects what
serves as best practice.
78
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Appendices
Case 1 – Facebook-post 1
th
7 of April 2012, 18.00. 91 likes.
Men, women, lovers of live music, a forewarning about a competition for Camden Crawl tickets landing on site next Tuesday. We want you to send in pics of
you and your Asos label and if your luck‟s in, you might be one of the 5 lucky winners of a pair of tickets. So get ready to Show Us Your Asos. More details on
Tuesday.
In the meantime, check out the lineup here http://www.thecamdencrawl.com/line-up
Commentnumber
Date + time
Actor
Comment
Comment - liked
Label
1
07/04/12
18.31
07/04/12
19.08
08/04/12 04.11
Darby Nash
*You're
1
SP
Ellen-Louise Crocker
'You're' means 'you are'...
Awkward
VaiTalitaSaito?
16
SP
1
P
2
3
Inis Saito
10th of April 2012, 18.03. 78 likes, shared twice.
Show Us Your ASOS Label // WIN TICKETS
Our Camden Crawl competition is underway. Show Us Your ASOS Label and a picture of your fine face to win tickets to the whole weekend of live music, just
down the road from ASOS HQ.
Email your pics to [email protected]
Check out the men's blog, Medium Rare, for more details: http://asos.to/MediumRareCamdenCrawl
Commentnumber
4
5
6
Date + time
10/04/12
18.14
10/04/12
18.53
10/04/12
20.37
Actor
Marie Black
Jenna Wright
Marie-Louise
RosengaardEisenhardt
Comment
but i always cut the labels out
:(
Me too. Labels = awkward
scratching!! X
Hi ASOS 2 weeks ago I send
back 6 items, but i have only
received mails on 3 of the
Comment - liked
2
Label
PRA
PRA
OAP
83
items, what about the 3 last
items ?
Regards Marie-Louise
Hey Marie-Louise
RosengaardEisenhardt,
You're welcome. Any further
problems with this, just get
back in touch, ASOS Chris B.
why i cannot see wall post in
april?and also cannot post
anything!
Hey Mizs, what post are you
trying to view? ASOS Casey
all post in this
april..ica'tview..why?
Hmm, this is strange Mizs.
We're able to view all posts,
and I can personally view
these too. Have youlikedthis
page? ASOS Casey
7
10/04/12
22.06
ASOS Chris B.
8
11/04/12
10.17
MiszJune
9
11/04/12
10.28
11/04/12
10.29
11/04/12
10.32
ASOS Casey
12
11/04/12
10.58
Misz June
13
11/04/12
10.59
ASOS Casey
14
11/04/12
11.00
11/04/12
11.00
11/04/12
13.55
MiszJune
yes..already..i just want to
view my older post....but
cannot view all post in
april..just want to check my
goods status only.
Hi Mizs, I can see that you've
posted on our wall. We'll get
back to you on this post and
advise you further. ASOS
Casey
thanks
ASOS Casey
No worries Mizs. ASOS Casey
ED
Angela Powiro
loli also post something here
on wall but i will not able to
see it.
PA
10
11
15
16
Misz June
ASOS Casey
o
OAPS
PA
PS
PA
PS
PA
1 – by Misz June
PS
ED
84
17
11/04/12
13.55
Angela Powiro
i think i never have problem
with label. but this is good
advise to find better label :)
PRA
11 april 2012, 18.38. 65 likes, shared twice.
Show Us Your ASOS Label // Win Tickets
Want to blag free tickets to the Camden Crawl?
Simply send us a picture of your fine face with an Asos label in the same pic for a chance to win tickets to Londons coolest weekend of live music. The more
labels, the more chance you have of winning.
Email your pics to [email protected]
Check out the men's blog, Medium Rare, for more details: http://asos.to/MediumRareCamdenCrawl
Commentnumber
Date + time
Actor
Comment
Comment - liked
Label
18
12/04/12
04.16
Mark Dorzheev
Is it valid for Russia?
PAP
19
12/04/12
09.06
MumtazBano
like and join our page
http://www.facebook.com/pages/MumtazInspirations/328382280541625
PP
20
12/04/12
09.58
ASOS Kym
Hey Mark Dorzheev, Camdem Crawl 2012 is in London.
There's nothing to stop you entering but you would have to
make your way to London if you want to enjoy the prize.
ASOS Kym
PAPS
21
12/04/12
09.59
ASOS Kym
Hey Jun Kamehameha, can you send this query straight over
to us in a private message? We'll get tosortedforyou. ASOS
Kym
OAPS
85
th
13 of April, 17.20. 66 likes, shared once.
Show us your label // Win Festival Tickets
Think you can beat these guys to win tickets to the first major music festival of the year? Simply send through a pic featuring your fine face with your ASOS
label and the more you send in, the more you chance you have of winning. Email your pics to [email protected]
Check out the men's blog, Medium Rare, for more details: http://asos.to/MediumRareCamdenCrawl)
Commentnumber
Date + time
Actor
Comment
22
13/04/12
17.20
13/04/12
17.28
Adelaide Jephson
Sara Watson
I don‟t get it why everyone picks Niall Horan as the
least Favorite
Omg. I have just bought the most amazing two
dresses off you for my hen weekend :) they are
beaut!!! Can'twaittowearthem. Thankyoooou!!!! Xx
1 - ASOS
P
24
13/04/12
17.54
Rose Curtis-Marof
When does this end? x
1 – fashioninside,
fashion blog
PAP
25
13/04/12
18.34
14/04/12
11.43
ASOS
Hi Rose it ends on the 18th April, happy snapping.
Vinayaki Khan
The boy in glasses looks like justinbeiber :p
1 – Reecn, online
fashion store
PRA
27
16/04/12
05.47
Rafael Galan
awesome collage!!!
1 – Reecn, online
fashion store
PRA
28
28/04/12
11.06
04/05/12
12.00
PabloDelgadillo
What are thoseeyebrows?
PRA
Florian Gauthier
Skrillex, is thatyou ?
PRA
23
26
29
Comment - liked
Label
PRA
PAPS
86
Case 5 – Facebook-post 5. Coachella photo-album
th
16 of April 2012, 19.13. 554 likes, shared 15 times.
Shared by: *GLAMOUR, fashion Facebook-wall (not much active), Hengelo, clothing store in Haslemere (active wall) and The Student Stylist, fashion blog
(active wall).
Coachella Festival // What they wore
We were out in the field - or should that be desert - spotting the trends festival revellers were loving at Coachella festival, in California, this weekend (FYI,
trucker hats and denim cut-offs were majorly popular). Check out the style setters we snapped over on our street style blog, Spotted
http://community.asos.com/spotted. Coachella's sunshine state of mind seduced a host of celebrities away from their day jobs, while those that were on the
festival bill made sure they got in on the after-party action. Check out what they wore, and for those of you who want a piece of the action, you can shop
festival fashion here: http://asos.to/J5GsBV
Commentnumber
30
Date + time
16/04/12
19.37
Actor
QasimAmin
Comment
yo
31
16/04/12
20.44
16/04/12
20.53
Fashion-meets-art
Wonderful looks.
ASOS Casey
ASOSHey Maurice, I'm sorry to
hear that. Send us a private
message with your order number
and full query, and we'll have a
look at this for you. Our message
tab is just below our cover photo at
the top of our timeline. Thanks,
ASOS Casey
33
16/04/12
21.18
ASOS Casey
34
16/04/12
21.23
JaninaZipperer
Hey Ljiljana, sorry to hear this. Can
you send me a private message
with your above query and order
number and I'll check this out for
you. Our message tab is just below
our cover photo at the top of our
timeline. Thanks, ASOS Casey
hello asos is ther any problem wirh
the saved items option?? it
doesn``t work the last 3
days??Please give me an answer
32
Comment - liked
2 – fashionmeets-art,
fashion blog
Label
P
PRA
1 – Married with
fashion, fashion
blog
OAPS
OAPS
PA
87
35
16/04/12
23.34
fASOS Chris B.
36
17/04/12
00.01
Felicia Chaa
37
17/04/12
3.33
ASOS Chris B.
38
17/04/12
07.56
17/04/12
09.24
10/05/12
18.00
14/05/12
20.07
JescaMoshi
39
40
41
Hey JaninaZipperer, please could
you try and different web browser
other than the one you are
currently using such as Chrome or
Firefox? Failing that, please try
deleting any web cookies, I hope
this helps, ASOS Chris B.
Hi Casey, could u pls help check
my order? 45667775. Did it went
missing again? :( Thanks! Felicia
Hey Felicia Chaa,
Thanks for getting in touch. I have
checked your parcel and can
confirm that since it has passed the
delivery timeframe it has now been
deemed as lost. Please could you
advise whether you would like a
replacement (subject to stock) or
refund?
I look forward to hearing back from
you. ASOS Chris B.
PS
Felicia Chaa
Couldyoupleaserefund?
OAP
ASOS Nicola
Hey Felicia, not to worry your
refund has now been processed for
you. ASOS Nicola
I LYK THEM!
OAPS
Hi we create great advertising
ideas, so that our client create
great brand, we offer CMS website
desing and dev including hosting
Just $300
PP
Sabir Khan
o
OAP
OAPS
PRA
88
Case 5A – Facebook-post 5. Coachella photo-album – photo A
Second album photo, 139 likes, shared twice.
Crop tops got two thumbs up from celebs this weekend, as seen on Dree Hemingway, Rihanna and model Hanne Gaby.
Shop crop tops: http://asos.to/IrsKr2
Commentnumber
Date + time
Actor
Comment
Comment - liked
Label
42
16/04/12
19.23
16/04/12
20.45
16/04/12
21.31
Renee Burger
Love!
1 – fashion-meetsart, fashion blog
PRA
Fasion-meets-art
flower power :)
Marta SanchoAbajo
Flower power? Pepper power rather...
16/04/12
23.38
17/04/12
11.45
Rebecca Martin
best outfit maybe ever
PRA
NaamaFreedman
it's Dolce &Gabbana spring
OPS
Fiona Zhao
awesome!!!!
PRA
43
44
45
46
47
o
21/-4/12
09.49
PRA
o
1–
NaamaFreedman
PRA
Case 5B – Facebook-post 5. Coachella photo-album – photo B
Third album photo. 383 likes, shared once.
Harley Viera-Newton joined Kate Bosworth and Sky Ferreira in their thinking that denim shorts maketh a festival outfit.
Shop denim shorts: http://asos.to/HMykYk
Commentnumber
48
49
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Date + time
16/04/12
19.17
16/04/12
19.18
16/04/12
19.31
o
Actor
Leonora Maas
Comment
Love the red lips!
Dana Petre
howabout the top? ♥
MagdalenaWawrzyniak
słodko ;D
Comment - liked
4 - fashion-meets-art, fashion
blog
blog
blog
Label
PRA
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89
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20.26
52
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20.46
16/04/12
21.23
16/04/12
22.07
17/04/12
11.01
53
54
55
o
Anna Elise Stoodley
♥
Fashion-meets-art
Pretty!
PRA
Stephanie Seid
such a cute top ♥
PRA
GypsyRiot –
Fashion blogger
PeilingZheng
oh yes so hot...@gypsyriot
PRA
the top is a swimsuit from juicy
couture http://www.asos.com/JuicyCouture/Juciy-Couture-CherryPrint-SwimDress/Prod/pgeproduct.aspx?iid=2
018934
OPS
blog
PRA
Case 5C – Facebook-post 5. Coachella photo-album – photo C
Ninth album photo. 89 likes, shared twice.
Hanne Gaby
Check out what they wore, and for those of you who want a piece of the action, you can shop festival fashion here: http://asos.to/J5GsBV
Commentnumber
56
57
58
59
Date +
time
16/04/12
19.21
Actor
Comment
Comment - liked
Label
EvieStothert
48
PRA
16/04/12
19.26
16/04/12 o
19.32
16/04/12
19.38
KasiaFerrer
i bet nobody would comment on a photo like this
saying 'ew, shes so fat', so why make equally
damaging comments about thin girls? she has great
style, and thats what the photo is supposed to be
focusing on...
eviestothert - style no doubt but some health problem
as well.
agreewithevie
1 – EvieStothert
PRA
omgi have no idea who she is, but someone get the
gal to an eating clinic pronto
2
PRA
‫עדיזמיר‬
Samantha Musket
PRA
90
60
16/04/12
19.39
16/04/12 o
19.41
Joe Simpson
OMG she's freaking me out !! she's so weird!! O_O
AnnahLégume
9
PRDD
62
16/0412 o
19.42
Dari Goldman
@evie, people would never comment about someone
being fat on this kind of media because there is never,
ever anyone over a size 10 shown. style isn't about
size. it's about looking good, regardless of style. and in
my opinion, this does not look good, nor healthy.
I know the fashion powers that be absolute adore this
girl's personal style. But I cannot. Nothing about this is
flattering. She may be thin, but she's thin and looking
homeless and drugged out. That's never a good look.
3
PRA
63
16/04/12
19.43
Joanne Goddard
2
PRA
64
16/04/12
19.53
16/04/12 o
19.53
Em Rose
No jealousy. So glad I ain't young and impressionable.
This is warped that anyone could promote this look as
a thing to aspire towards. Basically looks like a
concentration camp victim age 14 wearing fashionable
clothes. The message says: starve and you too can be
famous.
she would make a very stylish stick insect!
5 – EviStothert +
fasion-meets-art,
fashion blogger
PRDD
66
16/04/12
20.04
Bethany Rose Fox
@ Evie, I SOOO agree with you. People never criticise
fat girls because it's offending. It can be just as
offending when people criticise thin girls!! You know,
some of us cannot gain weight. I would like to gain 10
kilos, but I can't and I eat a lot and also fast food, and
I'm almost as skinny as she is ;-)
Yes, maybe she would be classed as unhealthily
skinny and fair enough if you are concerned (even
though, to be honest, it's none of your business what
her weight is) but saying things like 'ew', 'she looks like
an alien' and 'terrifying' ar...
4 - EviStothert +
fasion-meets-art,
fashion blogger
PRDD
67
16/04/12
20.11
EviStothert
i agree that she does not look healthy annah, but what
i'm trying to express is that criticising someone's
weight negatively is damaging regardless of whether
they're being labelled 'too fat' or 'too thin'. i also agree
4 - fasion-meetsart, fashion
blogger +
Bethany Rose
PRDD
61
65
Mette Gorm Petersen
o
PRA
PRA
91
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20.25
Sarah Breheny
69
17/04/12
11.15
17/04/12
18.38
ASOS
70
Joe Simpson
that style is not about size, which is why i pointed out
that these images were uploaded so we could observe
style, not critque body weight.
please someone feed her. now.
Hey guys we love that you all have your own opinions
but lets keep all comments respectful of others x
She makes people talk together that''s a good point !!!
lol (sorry for my englishi'mfrench !) XOXO
Fox
1 – Joe Simpson
PRA
PRDS
1
PRA
Case 5D – Facebook-post 5. Coachella photo-album – photo D
Twelfth album photo. 139 likes, shared once.
Sky Ferreira
Check out what they wore, and for those of you who want a piece of the action, you can shop festival fashion here: http://asos.to/J5GsBV
Commentnumber
Date +
time
16/04/12
19.19
Actor
Comment
Comment - liked
Label
Vicky Ouaknine
semi-morte?
39
PRA
71
16/04/12
19.56
GrazielleJoyebPagute
disrespectful people.. it's posted here because
she's got style and you guys, never appreciate
different kinds of beauty..
PRA
72
16/04/12
19.26
Anna Elise Stoodley
Has She seen Daylight.. Or Dinner? haha
PRA
73
16/04/12
22.09
16/04/12
22.19
17/04/12
01.18
GypsyRiot
vampireeeee
PRA
Helen Redhead
Dug up!!
PRA
Jessica Santiago
Member of the Adams family?
PRA
70
74
75
92
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17/04/12
11.18
ASOS
Hi Guys everyone is free to have their own
personal view but lets remember these are
real people and we're talking about the
clothes. X
2
PRDS
Case 6 – Facebook-post 6. Rain-proof and Festival ready photo-album
th
17 of April 2012, 18.41. 159 likes, shared once.
Rain proof your wardrobe // Get festival ready
The awesome line-up, the sunshine; have the pictures from Coachella sent you into a fury to snap up festival tickets? Well let‟s not kid ourselves, UK festivals
are never without their fair share of rain so why not get ahead and pick up your rain-ready festival outfit via the sale and - bonus - stay dry on this particularly
wet week too.
Commentnumber
77
78
Date +
time
17/04/12
19.26
Actor
17/04/12
20.26
ASOS Casey
Chiara Rossi
Comment
o
Comment - liked
Label
order nr. 45192298 Good morning, rose more
than 1 week and still I see no money order
repayment of the above. Plus I write on e-mail
the site and do not receive answers .. can we
so much want to credit the money or respond
with a link to verify that the reembursment has
th
been made??! ……..is April 17 and still got
nothing.. No I do not think possible timelines
are so long. I would get something stating that
the refund was made. As soon as possible.
thanks
OAP
Hey Chiara, I'm sorry about this. Can you drop
me a private message with the above post and
I'll have a look at this for you. Our message
tab is just below our cover photo at the top of
our timeline. Thanks, ASOS Casey
OAPS
93
79
17/04/12
20.26
Andreea CB
Hi Asos, my order no. 46808200 hasn't arrived
yet. Can I get some help please?
OAP
80
17/04/12
20.44
ASOS Casey
OAPS
81
17/04/12
21.12
18/04/12
20.26
Roxy Smeets
Hey Andreea, If you can also drop me a
private message with your order number and
ful query, I'll look in to this for you. Thanks,
ASOS Casey
The animal print boots are sooooo lovely
Verity Long
Hi Asos,
OAP
82
83
18/04/12
21.55
ASOS Jonathan
84
18/04/12
22.00
18/04/12
22.04
Verity Long
19/04/12
00.25
ASOS Chris B.
85
86
I recently purchased an item (05/04/2012) and
am considering exchanging for a different size.
It was bought for a friend and as I gave as a
present, I did not keep the packaging - the
item, however, still has it's tag. Would this be
OK for an exchange, as the tag is still on, I just
do not have the original asos packaging that it
came in? Thanksverymuch.
Hey Verity Long, that's fine. Please note that
we can only send the exchanged item to the
original address selected for delivery and your
friend will be emailed about the exchange (just
in case it was a secret!). Please let us know if
you need anything else. ASOS Jonathan
Verity Long
o
That's great - thank you. Would it also be OK
for a refund too if she so wishes? XX
Oh The item - ASOS Lace Bow Playsuit in
Black (Size 6) is now no longer in stock.. :( Do
you know if you will be getting more in?
Thanks.
Hey Verity Long, if you wish to receive a
refund, as long as the item is still in a saleable
condition, this should still be ok.
With regard to the ASOS Lace Bow Playsuit in
Black (Size 6), sadly, we do not tend to
PRA
OAPS
OAP
OAP
OAPS
94
restock items once they'...
87
18/04/12
10.09
Verity Long
Thanks for your help. I see it now says you
have it in stock - So I have just ordered the
size 6 - rather than doing an exchange, as
they may not be in stock by the time it gets
processed for an exchange.. Then when it
arrives, I will get my friend to try it and then
return the other one, which should still be in
the 28days return policy :). Thankyou.
ED
Case 6A – Facebook-post 6. Rain-proof and Festival ready photo-album, photo A
First album picture, 54 likes.
Religion Fever Leggings
WAS £68 NOW £35
http://www.asos.com/Religion/Religion-Fever-Leggings/Prod/pgeproduct.aspx?iid=2221421&cid=1928&sh=0&pge=0&pgesize=20&sort=-1&clr=Jet+black
Commentnumber
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time
17/04/12
18.41
Actor
Comment
Comment - liked
Label
Lovely Fashion By Monika
Basiaga – fashion blogger
Cool legginsandhandbag (:
17/04/12
18.44
17/04/12
18.48
Tess Roosenstein
excusez-moi but this model is way too thin.. !
15
PRA
Kelsey Hutton
Was lead to believe there was no weight
restriction?
1 - Taylor Bufkin
PRA
17/04/12
18.48
17/04/12
19.13
Taylor Bufkin
Naturally thin, not sickly.
2
PRDD
Tess Roosenstein
3
PRDD
17/04/12
19.13
Tess Roosenstein
well.. i think that almost eveyone who has a
normal, healthy body, can agree with me that
a gap like this, is tóó thin.. really. when I stand
like that i don't have a gap like that. and all my
friends have that neither.
@taylorbufkin
PRA
PRDD
95
94
17/04/12
19.14
Tess Roosenstein
the 'likes' on my comment don't lie ;)
1
PRDD
95
17/04/12
19.18
Taylor Bufkin
If you haven't noticed, most of the world is
overweight. Just worry about your own body
and no one elses.
3
PRDD
96
17/04/12
19.21
Tess Roosenstein
hahai will stop to discuss about this. ;) if you
want to say me: she's not thin. ok. ;) and the
bag is pretty awesome.
1 - Taylor Bufkin
PRDD
Case 6B – Facebook-post 6. Rain-proof and Festival ready photo-album, photo B
Second album picture, 85 likes.
Vila Festival Cape
WAS £60 NOW £35
http://www.asos.com/Vila/Vila-Festival-Cape/Prod/pgeproduct.aspx?iid=2194352&cid=2110&sh=0&pge=0&pgesize=200&sort=-1&clr=Sand+shell
Commentnumber
97
98
99
100
Date + time
17/04/12
18.43
17/04/12
19.12
17/04/12
21.23
18/04/12
09.40
Actor
Chloe Hayes
Comment
How.much? X
Comment - liked
1
Label
PAP
Louisa Thomas Sleight
PAP
AbiodunKabiruBabatunde
Can't find this on website any more
info please?c
its nice coat let m see men cloth
Angel Angele
cOOl cut:)
PRA
PRA
96
Case 6C – Facebook-post 6. Rain-proof and Festival ready photo-album, photo C
Third album picture, 63 likes.
Chinese Laundry Raindrop Zebra Wellies
WAS £45 NOW £20
http://www.asos.com/Chinese-Laundry/Chinese-Laundry-Raindrop-ZebraWellies/Prod/pgeproduct.aspx?iid=1955151&cid=1931&sh=0&pge=0&pgesize=200&sort=-1&clr=Black%2Fwhite
Commentnumber
101
Date + time
17/04/12
18.44
102
17/04/12
19.17
103
18/04/12
14.01
o
Actor
CarlyOd
Comment
'MoniicaAlvizuresvoos no
tegustarianunasbotaasasi :? haha
Comment - liked
1 - MoniicaAlvizures
Label
P
o
LuísaFarina
LOVE
IT!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
1
PRA
Cas Frazer
are these still in stock ?
PAP
Case 6C – Facebook-post 6. Rain-proof and Festival ready photo-album, photo C
Fourth album picture, 31 likes.
ASOS Nylon Shopper Backpack
WAS £15 NOW £7.50
http://www.asos.com/ASOS/ASOS-Nylon-Shopper-Backpack/Prod/pgeproduct.aspx?iid=2044844&cid=9714&sh=0&pge=0&pgesize=200&sort=-1&clr=Yellow
Commentnumber
104
Date + time
17/04/12
19.37
Actor
KathrynSlater
Comment
love this model. I'd love to look like
her.
105
17/04/12
21.22
17/04/12
22.56
StephieGrapes
luv these shoes. please, help me to
find them
Stephie, they look like DV's.
http://www.asos.com/search/Dv?hr
d=1&q=Dv
106
Taylor Bufkin
Comment - liked
Label
PRA
PAP
1 - StephieGrapes
OPS
97
Case 7 – Facebook-post 7. Camden Crawl winners
18th of April 2012, 19.13. 58 likes, shared twice.
Shared by: Dathangquocte.com – online fashion store recommender on Facebook.
Camden Crawl Winners
People of Camden, and in fact, the wider world, it‟s time to announce the winner of our Camden Crawl ticket giveaway. Competition was fierce, as were some
of the faces you pulled, but we‟ve picked our top five.
If one of these faces belongs to you, congratulations, you‟ve won. If your face is not one of these, fear not, we‟ve got a whole summer of amazing festival
tickets to give away. Watch thisspace.
Commentnumber
Date +
time
18/04/12
19.35
Actor
Comment
Cat Mears
That's my fella with the shoe on his head!
Thanks ASOS :D
P
18/04/12
19.58
19/04/12
06.00
Yasmin Khan
PRA
109
19/04/12
09.09
Mattias Scott
110
19/04/12
09.23
19/04/12
09.23
19/04/12
09.26
Joe AllstarShyna
https://marketplace.asos.com/search?q=Berrie
Official
Like Reecn's page:
http://www.facebook.com/pages/Reecn/35794
2980907818
Can earn $5 coupon easy as pie!!
Do it now!!
Hi, Asos. My order 47223722 has been held in
the hub for a week. But I need the bags for
holiday. Could u ask the courier to deliver
faster? Thankyou do much.
wooooooooop! i won!!!!!!!
Joe AllstarShyna
thankyouasos!
PRA
ASOS Nicola
OAPS
19/04/12
12.15
Hadiya J. Usta
Hey Mattias, not to worry I can see that your
order is on its way to you and can take up to
11 working days to arrive. It may take a while
for your order to clear customs due to value.
ASOS Nicola
Hey I just bought two dress dresses and
ihavent received my confirmation email yet.
This is the first time it has happened to me..
my order number is 47778317.. youguys r
106
107
108
111
112
113
Reecn Chic Destination
- online fashion retailer
Comment - liked
Label
PP
OAP
PRA
OAP
98
usuallyquicker!
114
19/04/12
12.55
ASOS Kym
Hey Jadiya, we've replied to your wall post.
ASOS Kym
1 - Hadiya J. Usta
OAPS
115
19/04/12
13.01
PoppyScarlettLepora
oh that's me!
2 – Kat Robins
PRA
116
19/04/12
13.08
19/04/12
13.09
19/04/12
16.25
19/04/12
16.33
Kat Robins
its YOU
1 - PoppyScarlettLepora
P
PoppyScarlettLepora
whathappensnow? ha
PAP
Marie Burt Rouillon
YAAAAAY !!! THANK YOUUUUU !!
PRA
Marie Burt Rouillon
Whathappensnowthen ? :)
PAP
120
20/04/12
14.15
PoppyScarlettLepora
yesss how do we get our tickets?
PRDD
121
20/04/12
18.36
Louise Hamilton
Claire Barrow, is that you??
P
122
21/04/12
13.11
Dan Hatton
Yeh I won haha cheer
PRA
117
118
119
99
Case 8 – Facebook-post 8. The Great Escape photo-album
th
19 of April 2012, 19.39. 80 likes, shared twice.
Shared by: Blowfish Malibu, online fashion retailer.
Yes people, there's more festival tickets to be won! Simply send us your favourite festival photo at [email protected] and tell us why it's so special to you.
We'll pick the 5 best and if it's you, there'll be a pair of tickets to The Great Escape (Brighton's answer to South by Southwest) winging their way to you.
Here's our best efforts. You can do better though, right?
For more details visit our swanky new blog, Medium Rare.
http://community.asos.com/medium-rare/Post/the-great-escape
Commentnumber
Date + time
Actor
Comment
123
19/04/12
19.55
Chiara Rossi
OAP
124
19/04/12
22.53
125
19/04/12
23.03
20/04
09.30
Fashion-meetsart
- fashion
blogger
ASOS Danny
order nr. 45192298 hello ... as agreed'm expecting a refund for the
shoes resituite April 3 ... the deadline for repayment was several days
ago but I was repeated several times that for time bank could reach me
no later than today ... to date, I have not seen the money ... and even
several times a document required to certify that the reimbursement was
actually done ... I know when I have because I got tired of waiting and
not what it seems to me a great service you are offering .. especially
since I request information to your e-mail and they told me only until it
was to tell me if the money had been refunded to me or not ... waiting for
news and possible certification for reimbursement immediately (and
money short). with clear
amazing!
Hey Chiara Rossi, I have responded to your Private Message. ASOS
Danny
Hi! I get a promotion code from use "20ASOSUSA". You said that i get
20% off when I enter this code. And it valid to 15/05. But why when I
enter to my order this code said has experied.
hi ... is it possible to upgrade my shipment from standard to express
even if it has been shipped out? I live in Canada
Hey Le Anh, ohh no! Please send us a private message and we will look
into this right away. ASOS Sarah
Hey Craig, please drop us a private message with the order number and
we will take a look. ASOS Sarah
OAPS
126
127
128
129
20/04
10.57
20/04
12.58
20/04
12.58
Le Anh
Craig Li
ASOS Sarah
ASOS Sarah
Comment liked
Label
PRA
PA
PA
PS
PS
100
130
22/04
22.53
Laura Fox Gill
excellent! can we enter more than once?
PAP
Case 5F – Facebook-post 5. Coachella photo-album – photo F
Fiffth album photo. 139 likes, shared once.
Katy Perry's festival shoe of choice was a pair of brothel creepies, while Florence Welch opted for flatforms. Thoughts on these - yay or nay?
Shop flatforms: http://asos.to/HMyE9M
Commentnumber
Date + time
Actor
Comment
131
16/04/12
19.14
Anouk Arends
yayyyy
132
16/04/12
19.14
16/04/12
19.15
16/04/12
19.15
Rhiannon Jones
This looks soforced.
45
PRA
Juliana Lee Mei
Yen
Holly Elizabeth
Morris
she's having a tough time after the divorce
8
PRA
I think she looks gorgeous!
5
PRA
16/04/12
19.15
16/04/12
19.16
16/04/12
19.16
16/04/12
20.17
16/04/12
21.23
Kayleigh
Gemma Laing
Rebecca Dawn
Borthwick
Laura M.
Oresen
Sophie
Steveson
Carmen Dorame
Nay.
10
PRA
I love katy but nayyyy. I think creepers are horrid!
2
PRA
nay ♥
1
PRA
133
134
135
136
137
138
139
Comment liked
Label
PRA
no creepers are hell
PRA
yay
PRA
101
Case 9 – Facebook-post 9. Coachella festival
st
Shared by: Amoni Manufacturing, garment manufacturing company and Tennam HK, fashion retailer in Hong Kong.
With Coachella round two taking place this weekend, it got us thinking about what a blast we had over the first weekend. Check out our picture diary here...
Commentnumber
Date + time
Actor
Comment
140
21/04/12
14.24
Lorna Andrews
ASOS great shot I saw I on your instagram the other day and thought
you should but it on tshirts bags etc
141
21/04/12
14.27
Lorna Andrews
Put*** doh
Comment liked
3
Label
2
SP
PRA
st
From the drive in from LA to the beautiful Palm Springs desert dotted with palm trees, we had a feeling we were in for a fashion-and-music-filled good time...
And we weren‟t let down!
Commentnumber
Date + time
Actor
Comment
142
21/04/12
13.06
DaisyChapman
♥♥♥
143
21/04/12
13.06
DoreenKasim
London fashionistas in Coachella!! Ourhai TChantel Michael Bernadette
JosephMariam Issac You should sooooo get them into VIP to help you
represent Landannnnnfashaaann!! :)
144
23/04/12
22.12
Victoria E
Walson
Amazing image. Veryimpressed!
Comment liked
1 – Married with
fashion, fashion
blog
– Married with
fashion, fashion
blog
Label
PRA
P
PRA
102
st
Shared by: Amoni Manufacturing, garment manufacturing company.
PULP played Friday night, and Jarvis won the crowd over with his suggestive swagger - even humping the stage at one point!
Commentnumber
Date + time
Actor
Comment
Comment liked
Label
145
21/04/12
14.55
Edith Reynolds
I saw him thurs....and oh boy. What. A. Treat! Xoxo
PRA
146
21/04/12
15.03
Vicky Fisher
Would
PRA
147
21/04/12
15.04
Vicky Fisher
Love to see pulp x
PRA
st
21 of April 2012, 13.02. 603 likes, 38 comments, shared 11 times.
Photographer Cara Stricker did an amazing job shooting killer Coachella street-style for us all weekend (looks we loved: cut off denims, daisy chain hair
action, all-over prints and trucker hats!).
Commentnumber
Date + time
Actor
Comment
148
21/04/12
13.04
ŠárkaHoráková
unsexy and ungirlish, dont like at all:/
149
21/04/12
13.06
KiriKaragiannis
it doesn't have to be sexy or girlish. they can dress however they want.
150
21/04/12
13.07
21/04/12
13.09
Katie Louise
Worthington
Chess Teugels
i love this look :) only thing idont like are the caps and the shoes on girl
on the right
R U kidding, the shoes on the right are awesome hehe (can I find them
on the ASOS site onlineshop yet?)
21/04/12
13.18
Ginny Wilson
Where Is the skull singlet from?
151
152
Comment liked
29
Label
59 –
wilddd.com,
fashion blog
PADD
PADD
PRA
4
PAP/PADD
5 – Orange
Circle Clothing,
online fashion
PAP
103
retailer
153
22/04/12
12.37
Joan Garcia
154
22/04/12
13.47
Nicole Marley
Hi! Can you help my friend to get a free trip to NY? Just give a like,
thank you so much XOXO
http:
//www.facebook.com/photo.php?fbid=294067084003676&set=a.294066
607337057.67897.109985155745204&type=3&theater
http://floralleopard.blogspot.co.uk/2012/04/asos-wishlist-april-2012.html
P/PP
PP
st
21 of April 2012, 13.03. 368 likes, 31 comments, shared 3 times.
We ran from fashion parties like the Mulberry pool party, shin-digging with celebs like Kate Bosworth, Sky Ferreira and Atlanta de Cadenet and drinking
cocktails, then racing back to check out our fave acts The Shins, Justice, DJ Shadow and Zack de la Rocha - but we lost it completely when Dre, Snoop,
Eminem and a hologram Tupac hit the stage! Coachella you rock - until next year, we love you!
Commentnumber
Date + time
Actor
Comment
155
22/04/12
14.13
sweeeet
PRA
156
23/04/12
04.19
Fashionbox
- online fashion
retailer
Jay Cheng
PA
157
23/04/12
04.29
23/04/12
05.47
Adeline Sim
I get a discount letter with promo code which valid until 1st May,
however when I check out, here's the information pops out「the discount
code "" has already been used and is no longer valid」. Couldyou fix
thisproblem?
same problem, the discount code doesnt work. is the link broken?
柏明儀
sameproblemhere
PA
159
23/04/12
06.31
Winnie Fong
PA
160
23/04/12
07.26
08.57
10.38
ASOS
hi asos, the promo code is not working for me too. i've placed the order
(Order number: 47960134). please refund the discount after you verify it.
thanks.
- taking care of all the issues in individual-tagged posts e.g.;
Hi 柏明儀, I'm sorry you're also experiencing issues. Please can you
send us the email you received the code in to [email protected] with
158
Comment liked
Label
PA
PS
104
10.41
11.04
11.51
11.53
Facebook as your subject and include order details and the issues
you're experiencing and we'll look in to this for you. Thanks, ASOS
Casey
Case 14 – Facebook-post 14. My festival
rd
23 of April 2012, 16.58. 217 likes, shared twice.
My Festival // Great Escape Festival
As usual, you lot haven't disappointed us in the hunt for awesome photos. We've had hundreds of entries so far but here are 3 of the best to give you some
inspiration…The competition closes 2nd of May so keep sending them to [email protected] to be in with a chance of winning some free tickets.
Case 15 – Facebook-post 15. Emma Roberts spotted on Coachella photo-album
rd
23 of April 2012, 18.23. 261 likes, shared three times.
Emma Roberts does retro-cool at Coachella
Wearing a retro knicker short onesie from ASOS, Emma Roberts injected her look with a little bit of current-day cool with some round sunglasses and
converse. Get her look here.
Commentnumber
Date + time
Actor
Comment
Comment liked
Label
161
23/04/12
19.14
The Fashionship
just love
162
23/04/12
21.07
Dominic Lovell
I'm pretty sure that not Emma Roberts. Are you guys just taking photos
of randoms?
163
23/04/12
22.52
Linda Rose
Hello Asos, When did you get new "Goldie London" stuff ?
PA
164
24/04/12
07.09
ASOS Chris B
PS
165
24/04/12
10.15
Clothes on
Trees - Fashion
Blog
Hey Linda Lose, thanks for your post.
We are always looking into sell the latest brands here at ASOS, so
please just keep an eye on our website and of course our facebook page
for the latest news on this. I hope thishelps, ASOS Chris B.
Love it!
PRA
1
PAP
PRA
105
Case 16 – Facebook-post 16. Lea Michele photo at Coachella
th
24 of April 2012, 17.07. 561 likes, shared 20 times, 41 comments.
Shared by:
Looking good! // Lea Michele in Aldo wedges
Check out Glee‟s Lea Michele at Coachella wearing a classic pair of espadrille wedges. Love them?
They‟re by Aldo and available in this sand colourway as well as black and coral.
Shop toit! http://asos.to/LeaMichelleAldoWedge
Commentnumber
166
Date + time
24/04/12
17.08
Actor
Fashion-meetsart
- fashion blog
Comment
love this look. the wedges ♥
167
24/04/12
17.09
Fashion-meetsart
- fashion blog
perfect look!
168
24/04/12
17.14
Phoebe Keung
♥ the wedges!
Comment - liked
5 - Old-ButHandsome_Vintage, online
vintage fashion retailer & I
Wore That, fashion blog
4 – Old-ButHandsome_Vintage, online
vintage fashion retailer & I
Wore That, fashion blog
1 - Old-ButHandsome_Vintage,
Label
PRA
PRA
PRA
Case 16 – Facebook-post 16. The Great Escape Festival contest update
th
25 of April 2012, 13.33. 85 likes.
106
Case 17 – Pinterest board: ASOS // Your Favourite Festival.
Think you can do better? Visit our festival hub to win tickets to this year‟s best festivals: http://asos.to/M32ZCk
Followers: 5739
Pins: 102
Liked and shared on Facebook: 6 times.
Case 17A – Pinterest board: ASOS // Your Favourite Festival – photo A
Jenna Foxton // It sums up the Saturday vibes really well - being surrounded by 30,000 people in fancy dress, all there for the same reason! Galvanisation at
its best. That night I danced with Spongebob and shared a bubble tea with Elmo. Mega cake.
Re-pins: 3
Likes: 2
Commentnumber
169
Actor
SparklesTam
Comment
this is brilliant
Label
PRA
Case 17B – Pinterest board: ASOS // Your Favourite Festival – photo B
Laura Gill // This photo was taken earlier this year at All Tomorrow's Parties at Butlins curated by Jeff Mangum: highlights included recovering from heavy
nights in the jacuzzi, the lovely Yamantaka Sonic Titan crawling through our chalet window to hang out and when this really apocalyptic fog surrounded us at
the beach--you couldn't see the sun. We nearly died driving home through the fog with a broken clutch--this photo reminds me it was worth it!'
Re-pins: 1
Likes: 4
Commentnumber
170
Actor
Laura Fox Gill
Comment
@Kat Meadowsyeaaah
Label
P
Case 17C – Pinterest board: ASOS // Your Favourite Festival – photo C
Ben Cork // Secret Garden Party 2010 - The annual paint fight took place but I forgot I had a one-on-one exam the day after the festival and didn't have time to
wash in between. I sat down for my discussion with the examiner and malted red and blue paint all over her shiny M suit - FAIL! These are my two friends
Eliza &Issy during the paint fight!
Re-pins: 8
Likes: 5
107
Case 17D – Pinterest board: ASOS // Your Favourite Festival – photo D
Sambo // I own this photo, it was taken on my iphone4, all my friends say it is absolutely amazing and im sure you will agree! It was taken at Swedish House
Mafia at ally pally in 2011
Re-pins: 4
Likes: 9
Case 17E – Pinterest board: ASOS // Your Favourite Festival – photo E
Becks O Keeffe // It‟s was at Oxegen 2011. There was 100 scouts there helping people "get it up"(their tents that is) and raising money for charity while doing
so :)
Re-pins: 4
Likes: 6
Case 17F – Pinterest board: ASOS // Your Favourite Festival – photo F
Tom Wilson // This is me at an extremely muddy T in the Park last year. I was standing there soaking in the sounds of Friendly Fires as well all the rain and
just thought to myself "F**k it, let's go" and took the plunge. It was the best idea I had ever had, the feeling of total freedom and feeling like a kid again...well at
least for 5 seconds until I realised I wouldn't get a shower for at least another 24 hours and spent the rest of the night freezing my t*ts off.
Re-pins: 0
Likes: 5
Case 20 – Pinterest board: ASOS // Festival Style.
Featuring street style looks from the big name festivals - from LA-based Coachella to Barcelona-bound Sonar. Plus, don't miss pictures of celebritity festival
style and what to wear suggestions from asos.com.
Followers: 5788
Pins: 39
Liked and shared on Facebook: 6 times.
Case 20A – Pinterest board: ASOS // Festival Style. – photo A
ASOS at Coachella // Sky Ferreira
Re-pins: 3
Likes: 3
108
Case 20B – Pinterest board: ASOS // Festival Style. – photo B
ASOS at Coachella // Hanne Gaby
Re-pins: 3
Likes: 3
Case 20C – Pinterest board: ASOS // Festival Style. – photo C
ASOS at Coachella // Spotted: Daisy Chains
Re-pins: 14
Likes: 5
Case 20D – Pinterest board: ASOS // Festival Style. – photo D
ASOS at Coachella // Spotted: Harley Viera-Newton
Re-pins: 6
Likes: 4
109
Case 18 – Twitter Timeline. April 2012
Comment
number
171
Actor + Comment
Date
(in comment)
Re-Tweets
Favorite add
Label
-
-
UI
172
-
-
UI
173
1
-
UI
110
174
-
-
PA + PS
175
-
-
-
176
-
-
OAPS
177
-
-
UI + OAPS
111
178
-
-
PA + PS
179
7
1
-
180
7
2
-
112
181
-
1
PAP + PAPS
182
3
3
-
183
3
-
-
113
184
15
9
-
186
3
2
-
187
4
1
-
114
188
13
3
-
115
189
7
1
-
116
190
6
2
-
191
4
5
-
192
3
-
-
193
4
6
-
194
14
10
-
195
30
14
-
117
196
5
1
-
197
2
1
-
198
9
3
-
199
8
3
-
200
-
-
PA + PS
118
201
-
-
PA + PS
202
7
1
-
203
5
2
-
119
204
3
3
-
205
12
3
-
120
Case 19 – Instagram festival posts, April 2012
Comment
number
206
Screenshot
Likes
Comments
Label
2498
73
PP + PAP
121
207
4216
116
-
208
642
6
PRA
122
209
476
4
PRA
210
300
2
PRA
123
211
1452
20
PRA
212
563
9
PRA
124
213
267
8
PRA
214
979
10
PRA
125
215
4236
116
PRA
216
448
2
PRA
126
217
836
1
-
218
1425
2
PRA
127
219
586
2
PRA
220
1760
26
PRA
128
221
2947
101
PP + PRA
222
773
20
PAP + PRA + OPS
129
223
1086
23
PRDD + PRA
130
224
920
14
PRA + P
131
225
6140
158
-
226
1425
10
PRA + PP
132
227
446
4
PRA + PAP
228
694
18
-
133
229
2036
33
PP + PRA
230
1073
14
PP + PRA
134
231
983
11
232
2798
46
135
Case 20 – Medium Rare blog activity April 2012
Date
27/04/12
Title
Win tickets to Field Day and Apple Cart
20/04/12
THE GREAT ESCAPE
10/04/12
CAMDEN CRAWL
Activity by sharing
Case 21 – Spotted blog activity April 2012
Date
17/04/12
Title
Spotted at Coachella: Trucker hats
16/04/12
Spotted at Coachella: Denim cut-offs
17/04/12
Spotted at Coachella: Daisy Chains
17/04/12
Spotted at Coachella: Flower Bomb
17/04/12
Spotted at Coachella: Retro Bumbags
17/04/12
Spotted at Coachella: Native American Touches
Activity by sharing
136
Case X – Example Data
Case X1 – ASOS Tweets on ASOS Obsessive Fashion Disorder
Case X2 – ASOS Pinterest board onASOS Obsessive Fashion Disorder
137
Case X3 – ASOS Pinterest board onASOS Obsessive Fashion Disorder B
Case X4 – ASOS Facebook photo-album onASOS Obsessive Fashion Disorder B
138
Case X5 – Customer Tweet on ASOS Obsessive Fashion Disorder
139
Case X5
Case X6
140

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